nahid azizi

 Characterization is one of the main components of storytelling. Character is a set of characteristics that make up the existence of a person in the story, and the audience expects to see the same characteristics in that person when dealing with that person at different stages of the story. Therefore, characterization is the art of portraying the characteristics and character of the people involved in the story in such a way that it is expected and believable. In this article, an attempt is made to compare the characterization in Khosrow and Shirin Nizami and Shirin and Farhad Vahashi Bafghi, and the similarities and differences of the views and tastes of these two poets in The field of characterization should be explained.

 This research has a comparative aspect and is based on the comparison of Khosrow and Shirin Nizami and Shirin and Farhad Vahshi Bafghi in the field of characterization methods. Discussions are presented in a combination of description and analysis.

 The findings of this research show that although the theoretical discussions related to the field of characterization are new and have become common in Iran since the encounter between Persian literature and Western literature in the contemporary period, two great Parsigo poets, Nizami Ganjavi and Vahsih Bafghi with Relying on their ingenuity, they have done characterization at an appropriate level.

 Nizami actually wrote the history of Khosrow Parvez"s life and reign, although he highlighted its romantic aspects as well. The main character of his poem is Khosrow, followed by Shirin and other characters, who are also numerous, some of them have secondary aspects and some of them are black. On the other hand, Vashvih has chosen a section of a bigger story and according to this choice, he has also chosen the characters. The number of characters in the wild system is as minimal as possible. The characters in the military system have more individuality due to the fact that they act in the heart of a historical text, and in the wild system, the aspect of the type of characters, whose number is also small, is more impressive, and even Farhad can be more or less He considered a symbolic and at the same time eternal character. The characters of the military system have more action, but the characters of the wild system are more like the people in the painting, who are quiet and still, and the poet is standing next to this painting and is talking about the people in it.

Bidel e Dehlavi was a great Persian poet of India in the second half of the 11th century and the beginning of the 12th century. He is considered one of the peaks of the Indian style in Persian poetry and one of the most prominent poets in the history of Persian literature. Although Bidel e Dehlavi"s main fame is due to his ghazals, his masnavis are also original and valuable in their own way. From Bidel e Dehlavi, there are four masnavis of Erfan, Toor e Marafat, Mohit e Azam and Telesm e heyrat, which are noteworthy examples of the Indian style. The Masnavi of Talism e heyrat is an allegorical travelogue and the story of King Rooh"s journey in the worlds of creation. In this masnavi, mystical thoughts with complex themes, strange metaphors and allusions are mixed together and imagination, variety of images and creation of new themes are accompanied with great precision and scrutiny. At the same time, this masnavi is an example of rhetorical beauty, and Bidel himself, in introducing the masnavi of Telesm e heyrat, on the one hand, criticizes those who are interested in the prominence of words, and on the other hand criticizes the lovers of good meanings, and the Masnavi of Telesm e heyrat is a combination of both sides. Hasan introduces the wording and meaning and requests the readers to pay attention to the beauty of both layers of his words while studying this Masnavi. Therefore, paying attention to the aesthetics of the mentioned Masnavi from the point of view of the science of rhetoric is one of Bidel e Dehlavi"s own wishes. In the present article, an attempt is made to examine the aesthetics of the Masnavi of the talisman of surprise based on the topic of the rhetoric of Istfam in the science of meanings and to explain the beauties and subtleties of this field.

The research method in this article is a combination of analytical and descriptive methods based on frequency and statistical results. First, the description of the knowledge of meanings and especially the category of interrogative rhetoric is discussed, and then the examples of this phenomenon are analyzed in a surprising way. The basis of the work is the Masnavi of Talisman Hirat, a poem by Bidel e Dehlavi, which is included in the third volume of the general poems of this poet.

Bidel e Dehlavi has benefited widely from interrogatives in a rhetorical form and in secondary meanings, and interrogatives in his poetry, including in the masnavi of the spell of astonishment, in various artistic situations such as denial, warning, persuasion, reprimand, surprise, bowing, etc. has been used.

This research shows the special attention of Bidel e Dehlavi to the measures of knowledge of meanings and the efficient and effective use of these measures in his poems. Considering the wide fame of Bidel during his lifetime and his still alive reputation in the Persian-speaking territories outside of Iran, as well as the increasing trend of paying attention to the works of Bidel e Dehlavi in Iran in the last few decades, and considering that the result of the science of semantics and the knowledge of rhetoric, the same attention The audience is a literary work, Bidel"s poetry can be considered full of calculated rhetorical subtleties and semantics.

Anne Marie chimmel, a German researcher and orientalist of the present century (1922-2003), is known and recognized among Persian speakers mainly as a researcher of Islamic mysticism (especially Maulana resarcher), and her artistic and poetic side is due to the lack of translation of " Naghmeh Ney" It remains unknown in Persian. The upcoming research has sought to find out the linguistic style and thought of the system with the analytical- descriptive method. It has been analyzed in accordance with the style and context of Rumi's words and in this direction, it shows the reader the extent of Shimel's influence on Rumi's creation of this verse. In short, what was obtained in this study and comparison was that: Shimel was influenced by Rumi's language and mentality in the composition and interpretation of " Naghmeh Ney" from all stylistic aspects - except for The song of the words: due to the bilingual nature of the works of both sides. It has been such that he even borrowed the symbols and signs of Rumi to instill the principles of ruling and mysticism that he believed in, and spoke to the audience with almost the same images that Rumi made and discussed, of course, Shimel also sometimes used to express his opinion and purpose, he gave up his metaphorical or code words in the face of real and figurative meanings and in this way he left a trace of his intellectual and literary independence. Rumi's philosophical/mystical thoughts can be seen from this side.

Form is the form of order used to express the content of literary and artistic works. Absence of form in poetry is distancing from the effects and principles of order and disrupting and breaking the texture and meaning of the poem. The aim of the research is to investigate and introduce the components of form avoidance in postmodern sonnets with a descriptive-analytical method.

In order to understand the connection of literature in different eras and the degree of changeability and production of various forms and literary anomalies, this study has been carried out with an analytical and comparative method. The present essay, using the descriptive-analytical method and using library studies, has analyzed the postmodern lyric poetry of the following poets: Mohammad Sa’eed Mirzaei, Seyyed Mehdi Mousavi, Azadeh Besharti, Vahid Najafi, Bahman Ansari, Fatemeh Ekhtesari, Asqar Ma’soumi and Elham Mizban.

In the linguistic and literary part, the signs of postmodernism in the poems of Besharti, Najafi, Mirzaei, Mousavi, Ekhtasari, Ansari and Mizban in the form of manipulation of the lines and rhymes of the ghazal, the use of self-made, unintelligible words, alien, strange and original imagery, expressing the imagination and desire of the poet in the sentences of the sonnet, deviation from the rules of syntax, phonetics and writing and grammar of the Persian language.

In this research, these results have been obtained that the most significant methods of form avoidance in postmodern sonnets are phonetic and linguistic breaks, visual breaks, tongue twisters, breaking the border between truth and illusion, abnormal change of rhyme, row and syntax along with innovation and There are changes that are used to fight against the tradition and to express better and more easily the intention and mental meaning.

Sociopolitical conditions of the Persian Constitutional Revolution encouraged and intensified the critical and educational views of poets of this era and the postConstitutional period. The poems by Mohammad Taghi Bahar and Ahmad Shamloo were selected for analysis because they created social movements as critics of their contemporary social and moral status. The data were collected through the secondary research method, and the verses were chosen purposively. We aimed to investigate the commonalities and differences in the socio-educational teachings of their poems. Using a comparative analytical method, this study sought to examine the attitude of these two poets toward the foundations of social ethics (social justice, women's rights, public ignorance, freedom, poverty, social self-awareness, fighting against oppression, etc.). The dominant political aspect of the poems of this era overshadows other aspects (especially the educational aspect); therefore, researchers must pay attention to the neglected aspects of these poems.

Bisotun plain is located in the west of Iran and many historical monuments from Pre-history to Islamic era have been identified in it. Man's understanding of nature showed itself in the construction of Bisotun Zagehs. The Zagheh was built in the villages of Zolm abad sofla, Bisotun, Kori zageh, Baqerabad and Zaloab. This research aims to answer the above fundamental questions: In which period did the construction of troglodytic architecture begin in Bisotun and how long did their use continue? What were the components and architectural structure of these handholds?. The results of the research show that based on the available evidence in the Bisotun Plain, during the Qajar and Pahlavi periods, the construction of zagheh in the form of handstands was common under village houses and in connection with the village fabric. These underground spaces with an almost similar plan have spaces such as sloping entrances, central space, side spaces, and ventilation, and were used by the villagers of the region to keep livestock in the autumn to early spring seasons. The size and number of spaces depended on the owner's economic status, topographical conditions, the type of soil in the area, and the proximity to empty spaces.

Characterization is the most important element in modern fiction.so other elements such as: truth-likeness, scene, space, color, dialogue, and etc. Which become stronger and more consistent under the influence of the composition and dealing in "character”. On the other hand, what is considered in cultivating the element of character in modern stories, it is the use of psychological components. Among these, Jung"s psychological teachings (archetype = archetypes) have been the most influential. Therefore, the purpose of this study is to investigate the myth-historical role of the mother of a female heroine (Based on two famous novels: Suvshun and Jai Khali Sulooch, respectively: SiminDaneshvar and Mahmoud Dolatabadi).

The study method in this research has been the collection of library resources and based on analysis and description. In the first stage, by studying the stories of Suvashun (by SiminDaneshvar) and Jai Khali Sulouch (by Mahmoud Dolatabadi), the mother role of female heroes (Zari and Morgan) is considered. And then, this role is evaluated from the perspective of myth or archetype with their historical and real situation.

SiminDuneshvar andMahmoud Dolatabadi were famous novelists with a contemporary style, and in this case, they have had many technical and artistic influences on the progress of storytelling after themselves. These two writers have been authoritative in the subject of "personality" and "characterization", So that the reader associates and identification with the character of the hero in their stories. And what is wrapped up as a "message" in the midst of events is accepted by the soul.
One of the prominent characters in the stories of these two writers is a woman - especially as a mother.

The results of this study indicate that: SiminDaneshvar and Mahmmood Dolatabadi have been the most famous and influential writers of the present century who have had special skills in composition and dealing for their narrative elements - especially characters. Despite the sex differences between them, these two authors have shared in presenting a true face and model of an Eastern-Iranian woman (in mythological and historical dimensions). And this role has been portrayed as befitting the ancient and historical position of this class in the cultural and social relations of the studied history.

The Oriental culture, literature and myths have long been the focus of Orientalists and Western scholars. William Morris is a British poet who was interested in Persian poetry and literature. He was familiar with Persian culture and literature, and wrote “The Man Who Never Laughed Again” based on “The Black Dome” in Nizami Ganjavi’s Haft Peykar. He imitated the character, atmosphere of the story, the symbols, the colors, the costumes and other elements of the story from Haft Peykar. Haft Peykar or Haft Gonbad is one of Nizami’s lyrical poems that symbolically portrays the spiritual transformation of King Bahram of Iran. Bahram proposed to marry seven princesses from seven countries, and made them the first ladies of the seven palaces. He was the guest of one of them every night to spend time and rejoice when he heard stories. Finally, at the end of the week, when he was the guest of the Black Dome, Dorsati the Persian princess told a story about the Persian culture that influenced Bahram. This research, like other researches, has examined the impact of Nizami’s “The Black Dome” on William Morris’ work through the analysis of the content of the texts. It is based on library studies. In conclusion, this research is going to prove that William Morris’ work in terms of structure and content, like a refreshing seedling, is originated under the shade of the thick tree of Haft Peykar, then it has borne fruit in European literature.

 This comparative study examines the ar is one of the ly,rical works of the military that symbolically narrates the spiritual transformation of Bahram Gour, who housed seven martyrs from seven countries who were the symbol of their homelandchr('39')s culture in seven palaces, and heard a story from them every night. The Shah overnight began on Saturday with the Princess of the Black Dome, and Adineh ended in the White Dome, which belonged to the "correctness" of the Iranian Princess. With a story centered on following Iranian culture and rationality, Dorsati transformed the Shah spiritually and brought him to immortality. While acquainting himself with Persian culture and literature, William Jones created the system of the Seven Springs based on the stories of the seven military figures. Aware of the influence of the number seven in various ethnic groups and its application in Eastern mythology, he set the foundation of the Haft Cheshmeh on the number seven, which corresponds to the seven figures in terms of morphology. , Examined the similarities and differences between the two systems and came to the conclusion that the young king of the Jones system finally evolved in dealing with a mythical maiden and reached immortality with the purification of body and soul. Haft Cheshmeh, in terms of structure and content, flows like streams from the areas of seven military palaces and calmly joins the ocean of Persian poetry and literature

Law in literature is a mirror of the extent to which literature is influenced by the rights of society; Such as the ruling power of society or legal relations between people and the way in which literature talks about law, justice and various legal issues. The present study has examined the process of reflecting legal concepts in the texts of "Kelileh va Demneh" and "Golestan" by descriptive-analytical method and relying on library sources. The concepts extracted in the researched works are mostly expressed in the form of allegories such as the principle of personality of the crime, proportionality of the crime and retribution, murder, theft, bribery, testimony, amnesty, oath, retribution, punishment and its types. The judge, as the main pillar of the judicial system, must be religious, just, knowledgeable, provident and anti-bribery. Comparative results show that most of the extracted concepts, in addition to conforming to the materials of the contemporary legal system, still have their own application today.

Prediction of rangeland species forage yield is one of the most effective tools for planning and policymaking of natural resources in each country. Climate variables (precipitation and temperature) play an important role in forecasting rangeland species production. In the present study, the forages yields of some typical species in Ghoosheh rangeland, Semnan, measured using cutting and weighing method. It was evaluated in 30 plots with an area of two square meter, distributed along with two transect lines, for a 10-year period (water year 2005-2006 to 2014-2015), to determine the effects of drought on the forages yield of typical species in the studied areas. In the next step, several drought indices were calculated. The relationship between forages yield of rangeland species and drought indices values investigated to model forages production of study areas via drought indices. According to the values of drought indices SIAP, PNPI and Z-Score, several drought and wet-year periods occurred during the assessed 10-year. The relationship between forages production and drought indices confirmed that the best simple linear regression model for estimating total forages production of studied area was introduced by SIAP and Z-Score indices (RRMSE = 0.1) explaining 53% of production changes at 95% confidence level. The effects of drought and wet-year periods varied among different species so as to the annual production varied greatly for annual species (between 1 and 11% of total annual forages yield) and slightly for perennials and shrubs.

This research monitored changes in canopy cover percentage of typical species during a 10-year period in the Ghosheh rangelands to find out the relationship between two important climate variables (precipitation and temperature) and canopy cover changes. Therefore, the canopy cover percentages of six typical species (separately) and annual species (overall) were measured during 10 years at the end of growing season in thirty 2-m2 plots, distributed along two 250–m transect lines. The results demonstrated that the maximum canopy cover percentage for water year 2006-2007 (wet-year) and the minimum value for water year 2012-2013 (drought) were 15% and 5.5%, respectively. The canopy cover percentage modeling was performed based on linear regression method using precipitation and temperature variables. The precipitation of April explained 65% of changes in canopy cover percentage of A. sieberi at 95% confidence level (RRMSE = 0.26 & MAE=0.49). The best simple linear regression model for estimating canopy cover percentage of S. barbata and Z. eurypterum was introduced by total precipitation of March-June and precipitation of March, representing 77% (at 99% confidence level) and 67% (at 95% confidence level) of changes in canopy cover, respectively. Considering the dominant role of A. sieberi, S. barbata and Z. eurypterum in vegetation composition of study areas, it can be concluded that most changes in canopy cover of the studied rangeland are predictable by variability of precipitation during growing seasons.