جستجوی مقالات مرتبط با کلیدواژه "opposition" در نشریات گروه "ادبیات و زبان ها"

The creation of discourse categories, shaped by a particular worldview and narrative of the world, is inherently intertwined with linguistic processes. Confrontation and synonymy, as linguistic processes, play a significant role in shaping the worldview conveyed by texts. Leslie Jeffries (2010), a prominent linguistics researcher, has proposed a model for understanding the potential worldview impact of texts by analyzing textual contrasts and their regulation alongside established critical discourse analysis tools. Jeffries identifies various types of contrasts, including negative, transitive, superlative, shifting, privileged, explicit, parallel, and comparative, as well as relational, expressive, and metaphorical synonyms.This research investigates oppositional and synonymous structures within Abolqasem al-Shabi's "Ode to the Will of Life," employing critical stylistics to analyze the text and elucidate its underlying worldview. The analysis reveals that examining the conceptual relationships within the textual structure of oppositions and synonyms in this ode effectively illuminates worldview categories. Cognitive contrasts within the text, such as those between ambition and narrow-mindedness, exaltation and inferiority, hope and despair, struggle and resistance, and life and death, along with synonymous expressions, contribute to shaping a shared worldview of societal resistance against oppression and colonialism

Proverbs is among the terms that researchers disagree on both defining and determining its examples, to the extent that some believe that it can never be defined. Due to these ambiguities, some have mixed it with other realms such as irony and allegorical metaphor. It seems that the researches in this field have not sought a systematic and well-founded framework for all kinds of parables. Researchers in linguistics and literature in the 20th century tried to extract general rules for both and present them under the title of "Grammar" considering the similarities of types and literary works, analyzing their structure, and defining different types in the form of a few simple forms. One of these forms is proverb the “grammar” of which can be obtained by analyzing its structure and extracting its components, and by putting them together. It seems that one of these basic components, which can be seen in different forms in proverbs, is opposition. In this research, while categorizing and criticizing the definitions of proverb, examining the types of oppositions in philosophy and semantics, about a thousand Persian and Chinese proverbs have been classified with a descriptive-analytical method. The result of the research shows that in every proverb we are dealing with some kind of opposition, but the frequency of opposition is different, so that types of connotational opposition and complementary opposition are the most frequent, and lexical opposition is placed in the next category, although we have proverbs that have several types of opposites. Also, in the current research, there was no example of the symmetrical opposition or gradable opposition.

Disagreeing means inconsistency and expression of words and sentences that are signs of dissatisfaction. If the opposition is rooted in socio-political anomalies, then the "opposition" is someone who takes on the role of fighting injustice and social corruption, especially among powerful groups in society, and using the opportunities that exist in the hand of power. Due to his criticism of social condition, Hafez is deemed amongst the poets of disagreement who utilizes symbolic words to take side with ethico-social norms. In his social, anti-readings he challenges the religious hypocrites who are corrupted.  The purpose of this study is to examine and analyze symbolic characters as one of the characteristics of intellectual style in opposition to social readings of Hafez's poetry, which has been done using a descriptive-analytical method. The result of this research shows that Hafez has been able to show one of his critical tricks in opposing the existing government by employing various personalities.

opposition has always been debated in Shahname, the greatest Iranian epic work. Considering its mythological nature, most of the studies in this literary work have focused on the opposition of good and evil forces. This point of view is so frequent in the studies of Shahname that all the characters of the stories are presented as the symbols of good and evil forces. In this research, contradiction in Shahname is considered by a completely different angle.

our theoretical framework in the present article is critical discourse analysis. In critical approach, Identity is defined as the opposition of self-other relation. Based on this method, classification of self-other happens following the presence of oppositional discourses in the text.

by analyzing stories of Shaname in critical view, we found that tension and conflict (whether internal or external) in the flow of stories occur as the the result of oppositional discourses in the narration and these discourses provide the ground for the construction of “self-other” or “we-us” relation. Also, as the mythological texts are symbolic in nature, by critical look on the narratives, new undiscovered aspects have revealed which were hidden underneath the stories.

considering the stories in critical view, we reached at some micro discourses that all of them can be placed under one macro discourse and that is deconstruction discourse versus adherence to structure. This means, the political-social system of ancient Iran with its manifestation in Shahname, has always been dependent on the former traditions and structures and any kind of deconstruction leads to conflict. Heros have always been loyal to the former structures and any change in the system would not be tolerable by them.

In Saussure's and Structural linguistics, the binary oppositions stem from the bipolarity of the logic of human mind and language and then are used in other sign systems. Thus, in sign systems, such as literary texts, oppositions are one of the most fundamental signs and patterns of analysis that provide the basis for understanding the subjective concepts. In this essay, the micro-textual oppositions in the Masnavi and the sonnets of Shams were extracted using binary oppositions with macro symbols and then were analyzed and compared. The findings showed that the binary oppositions in Masnavi, which were made by the macro symbols, are often within a logical and natural relationship with each other and share common themes. In most cases, macro symbols symbolize the divine and spiritual spirit, and in these meanings Rumi puts the spiritual world in contrast with the physical world. But in the sonnets, the animals in opposition with hawk are different. Also, norm-breaking and the abnormal relationship in opposing relations are both more frequent and more prominent in terms of frequency and diversity, and consequently natural and abnormal interactive images are more frequent and more diverse. The abnormalities mostly refer to the elimination of opposites and the unification of opposing poles or the displacement of positive and negative poles in different ways. There are examples of conflict and abnormalities in both texts with similar and common themes and in some cases the oppositions have been processed only in one of the two texts studied.

The identity of reason and love and the issue of opposition, contradiction or alignment between the two is not limited to the present age, but has a long history that goes back to the life of mysticism and Sufism. There is a conflict between reason and love in most of the works of mystics. In appearance, reason is sacrificed at the foot of love, but with more thought, we can see that there is a harmony in their works. Imam Khomeini and Allameh Hassanzadeh Amoli are two prominent and knowledgeable personalities in religious Sciences who have entered the field of Persian literature. This research, which has been done in a comparative and "analytical-descriptive" method, it seeks to identify the mystical concepts of "intellect and love" in the poems of Imam Khomeini and Allameh. They express the characteristics of true love and they pay to the theory of reason and love and the opposition between the two; They denounce the monstrosity intellect and praise the divine intellect; Among their poems, the diagram of true love for the Creator and perfect human beings, especially the Imams of the Infallibles (PBUH) is seen as the main axis of the poem. They know all their cognition through love which is divine; This true love is in opposition to reason and wisdom and is evident throughout their poetry collection and has a very high frequency

From Iranians’ perspective Shahnameh is a book of politics and the manner of ruling a country and via portraying the destiny of heroes and kings in fact gives a lesson to dictators and world worshippers informing them of punishments and consequences of their sins and oppressions imposed.  The purpose of this article is to study from different angles how states are formed.  Aspects such as Divine Farr, Royal Farr (heredity , blood relationship in royal generation),  power and having social status as important factors in forming sovereignties.  For this purpose the conflict of power and heredity is studied in more than fifty kings.  The main pillar of sovereignty in Shahmameh is power and varieties of its manifestations.  In other words, Shahnameh is the struggle of powers that is the battle of justice against injustice. According to the beliefs of certain communities in Shahnameh women whether in a position of a reign or as a queen are transmitters of heredity and agents who transfer royal blood and power in the infrastructure of the sovereignty.  Traces of the ancient tradition of matriarchy can be seen and in this regard women mostly appear in the role of a mother, a daughter or a sister as the agents who transmit heredity example being the marriage of Zahak with Jamshid’s sisters, the tale of Siavash, and the tale of King of Yemen, Sarv who refused to let his daughters marry Feraydun’s sons.  The writers of this article employed a comparative analytic method to study and compare different reigns and to deal with the conflict of power and heredity as one of pillars of their sovereignty.

The fame and greatness of the Ashura event, with its wide and unique dimensions, caused it not to be far from the taste and intuition of mysticism. Among all different historical periods, the Qajar period has received less attention from scholars of mysticism and Sufism in Shiite ritual poetry (Ashura poetry). In this historical period, with the arrival of the manifestations of modernity in Iran, we face many changes in all dimensions and aspects of politics, economics, etc. but it was not easy to accept modern Western culture and civilization with its secularist characteristics in a society whose foundation was based on religious beliefs. Hence, Ashura poetry struggled with the manifestations of modernity in the contemporary world with a mystical approach. The reflection of this opposition can be well seen in Ganjinat Al-Asrar of Amman Samani. The present study has been done using a descriptive-analytical approach based on library data. It answers the question of how the confrontation between the tradition and the manifestations of Western modernity in the Qajar period and in the Ashura mystical poetry of this period has emerged. The results of the study indicate that in these poems, unity, love, and attention to the collective spirit in the uprising of Imam Hussein (AS) as the manifestation of the perfect man are in opposition to the manifestations of Western modernity.

The literary term of contradiction has been the most controversial concept in literature. Some of the main literal and rhetorical techniques such as contradiction, confrontation, paradox, ambiguity, and probability implicit in contradictory words, failures ... are mostly based on contradiction and confrontation. In this article, which is done based on the descriptive-analytical method, with a content analysis approach, first, we review the contradiction and paradox in rhetorical books, and then we explain the application of such techniques in Molavi's 50 lyric poems. The results show that in most of the newly written rhetoric books, there are more accurate definitions and segmentations about the literal symbol of contradiction; besides, its importance has been taken into account more seriously than before, while paradox has been noticed only in some of the recent rhetorical books. The contradictions are of high frequency in Molavi's lyric poems based on the documentary method. The relatively high use of paradox in Molavi's sonnets reflects his innate genius, creative thinking, artistic and rhetorical deep understanding of the artistic capabilities and rhetorical techniques, and is commensurate with his mystical attitude, and ecstasy. The Research process on the contradictions and paradox of the view of rhetoric books is as follows:  

 the artistic and creative works of Iran and the world have been using contradiction and contrast in their foundation. Contradiction and paradox are the two most important concepts of Molavi's work that have not yet been the subject independently. 1-1. Statement of the Issue: Firstly, how have these contradictions and contradictories (paradox) been used in rhetorical books? And secondly, how did Molavi use them in Divan-e Shams in a rhetoric way?  1-2. Background Research: there had been some researches done to study contradiction and paradox such as: "Reflection of contradiction in Masnavi"; "Contradiction and its types in Persian Literature"; "Contradiction at the same time of unity"; "Study of the components of mystical paradox in Hakim Sanai's Ghazals"; "Paradox language"; "Contradictory phenomena of aesthetics"; "Paradoxical critique and analysis of historical and rhetorical process"; "Mystical experience and paradoxical expression"; "Content paradox in Persian Poetry"; but the surveys show that there has been no research yet on the role of contradiction and paradox in Divan-e Shams. 1-3. Necessity and Importance: Considering the importance of contradictions and paradox in Molavi's sonnets and the fact that these two concepts and their types in rhetorical resources, including the different species of contradiction and paradox in Molavi's ghazals, have not been discussed in the researches mentioned above, it seems like that is necessary to investigate in this regard. 1-4. Research

 in this study, the library research method has been used, and the data collection was descriptive-analytical. 2. Discussion  2-1. Contradiction and paradox in rhetorical books 2-1-1. Contradiction: firstly, the development of contradiction in rhetoric books is explained in a timely order from Tarjoman Al-balaghe (from the end of the 5th century) to Naghd-e Badi’ (1379). The research shows that "contradiction" has been named one of the most beautiful and efficient literary arts as tazad, motabeghe, takafu, motabegh, tabagh, etc. Rhetorical scholars believe that the basis of contradiction is the usage of contrary words. Some of them has only confined to define the meaning of paradox by providing a few examples, while others believe that "the presence of beauty" is the necessity of using this array, and some others believe that the presence of a sense of contradiction – even without using contradictory words- can be named "contradiction". Others have only mentioned examples for "contradiction" without explaining its different species. Although some scholars, especially more recent scholars, have paid more attention to explaining the various species of contradiction and their definition, divisions, and their aesthetic aspects, they divide it into a contradictory noun, verb, aphesis, opposition, the ambiguity of contradiction, eftenan, paradox and sensational.  2-1-2. Paradox: It has not been mentioned as an array in rhetoric books because it has been introduced to us by western literature.  In this article, 50 lyrical poems of Ghazaliyat by Shams-e Tabrizi have been randomly selected and studied based on the content analysis to explain the rhetorical contradiction and paradox in Molavi's sonnets. The conclusion of the study of Molavi's ghazals, based on the divisions in rhetoric books, shows that paradox has appeared in 9 ways in Molavi's ghazals. The frequency of types of contradictions in this study is as follows:     Contradiction types Paradox Explicit contradiction Opposition Inexplicit contradiction Semantic contradiction Verbal contradiction Contradiction of reversion aphesis Contradiction of ambiguity Percentage 30.3 25.2 17.8 14.9 4.4 4.4 1.5 0.75 0.75   2-1-3. Opposition (18%): this type of contradiction has third place in Molavi’s work because his forethoughtfulness dissuades him from prejudice; in a way that he displays every aspect in addition to its contradiction.  Half hemistich Three half hemistich One redoubled hemistich One hemistich One couplet Two couplets Types of Opposition 11.1 5.5 33.33 16.6 27.7 5.5 Percentage  

 contradiction has been more and more attractive to rhetorical scholars by the day. Most of the newly written rhetoric books have paid more attention to the divisions of contradiction, its aesthetic role, and rhetoric effect. "Contradiction” has a high frequency and different types and styles in Divan-e Shams attributed to Molavi. Every type of contradictions displays the meaningful relation between contradictions and inherent genuine, intelligence, and mystical ecstasy of the poet's mind. The paradox with 31% usage shows his mystic language. The "explicit contradiction" with 26%, because of its persuasive nature, and the "opposition" with 18% displayed in 6 different styles, show his intelligence and creativeness. For example, using contradiction in one redoubled hemistich, the confrontation of one side of contradiction in three half hemistich with its other side in one-half hemistich causes transferring excitement and spiritual feelings to the audience that makes them more enthusiast to understand the meaning of the poem. You can say that in this regard to the opposition, one army battles with three armies. "Inexplicit" contradictions with 15% show his open and creative mind for displaying spiritual concepts. The rest of the contradiction types are not highly frequent. This characteristic is due to that they don't give the audience help understanding the meaning. The reason for this factor can be the concepts discussed further: First of all, Molavi's great interest in the use of much contradiction rooted in his mystical and philosophical insight; Second, the widespread use of paradox is due to his mystic skepticism and the natural homogeneity of paradox with the specific language of mysticism; Thirdly, the frequent use of the "inexplicit" contradiction expresses his genius, creative mind, and literary taste, and all this is one of the factors of Molavi's sonnet's charm and verbal and spiritual value which shows the rhetoric of the contradiction in his ghazals.

Ajaib-Nname is written document from the fifth to twelfth centuries. This study hypothesizes that there is a relationship between Ajaib-nameh and mythological views. To text it, eight texts of this genre were described and analyzed. Using Foucault's theory of genealogy, it was revealed that collective imagination in Ajaib-nameh has a relationship with the quasi-mythological motifs, despite the former's methods and objectives. The evolution of these texts has been explained in three distinct eras, including the geography-based era, the narrative era, and time-based era. The intensity and weakness of imagination in these texts are highlighted in three colors: yellow, orange and dark red.

This article investigates cultural interaction and opposition in mythological section of Shahnameh from the perspective of cultural semiotics.  At first concepts such as self and the other, attraction and repulsion, order and chaos, and cultural sphere which are considered as fundamental features of cultural semiotics are explained briefly, then relying on the text the aforementioned concepts are exemplified and analyzed.  This research is based on the descriptive analytical method employing cultural semiotics theories.  Results obtained show that according to Shahnameh text, Iranian culture due to various reasons is a receiving one and under different circumstances not only showed opposition but also interacted with the other.  The important feature of this culture is its considerable power of attraction and assimilation, however it has always welcomed stability and cyclic repetition based on the cultural sphere deeply imprinted on it all the more reason for being reluctant to fundamental change.

The present research intends to elaborate on the possibility of formalizing the sense relation of ‘opposition’ in word pairs. In order to do so, firstly, some fundamental concepts from set theory are introduced; main topics covered in this regard include: ‘membership’, ‘inclusion’, ‘union’, ‘intersection’ and ‘difference’. Then some concepts corresponding to propositional logic, which the authors consider necessary for the purpose of the research, are presented. The concepts include logical connectives (‘negation’, ‘conjunction’, etc.) and quantifiers (universal quantifier and existential quantifier). The present paper also applies the concept of ‘function’ from mathematics to present some of the intended formal expressions corresponding to the introduced sense relations.
To set a suitable framework, the authors go over various technical definitions of ‘opposition’ which are introduced as fundamental concepts in linguistics dictionaries as well as semantics textbooks. Sense relation of ‘opposition’ in word pairs can be classified into several sub-categories, all of which are introduced in this paper and the process of formalizing each of them are explained.
All in all, the present paper presents six different types of sense relation under semantic opposition category which are as follows; ‘antonymy’, ‘gradable opposition’, ‘complementary opposition’, ‘directional opposition’, ‘symmetrical opposition’, and ‘contrast’. Then, it goes over the process of formalizing each of the mentioned sub-categories and introduces a formal translation for every proposed definition. Finally, the present research examines the efficiency of the introduced formal expressions by providing several examples.
The formal expressions of the listed sub-categories are introduced in the following paragraphs in the same order as they are discussed in the paper.
Antonymy; F(x) = -x. The logic behind the presented relation is that, based of the definition of antonymy, as it can be observed in the binary pairs (dead/alive), the absence or presence of a semantic feature pertaining to one word results in binary pairs which are antonyms; i.e. the meaning of one word equals the negated meaning of the other. So the absence or presence of the semantic feature [living] in the example in question (–living/+living), causes them to be antonyms; therefore, F(dead)= F(-living)= -(-living)= alive.
Gradable Opposition;
[(23)]
∀p, ∃q, ∀ x∈ M p(x) → q(x)
So;
p≃ q
Relation [(23)][1], means that for every single utterance such as proposition p, that is the word x, and x is a member of the Universal Set of words M, there exists an utterance like q which is in opposition with p. For instance, if the word “woman” is a member of M, then there exists a word, “man’ which is in opposition with “woman” It is noteworthy that relation [(23)] is a formal expression which is suitable for all kinds of sub-categories of the sense relation of opposition.
Complementary Opposition;
[(29)]
p → q
Therefore, p∧q is never a tautology.
For example, dead → alive, therefore, dead˄alive is never a tautology.
Directional Opposition;
[(31)]
g: X→ X
∀ x∈X; g(x) = x-1
It is worth mentioning that X is a set of semantic features which concern with the concept of ‘direction’ and the function g reverses x∈X (x is a directional feature). The set an example, if we take x: to depart, then g(x) = g(depart) = (depart)-1 = arrive, that the function g reverses the semantic feature of direction.
Symmetrical Opposition;
[(32)]
f, g : X→ X
∀ x∈X; x = -y f(x) = - g(y)
As it is seen, the relation of reciprocal opposition is defined as “one element is in contrast with the other”; that is they cannot coexist. Examples include pairs of words ‘husband/wife’, and ‘sell/buy’. So, if Mary is John’s wife, then John should be Mary’s husband. The relation [(32)], defines two functions that turn the very mutual semantic element of x to –y which is in fact the opposite of x. Considering the example ‘sell/buy’, it is clarified as follows: buy (+to get sth[2] by paying money) = -(to give sth by receiving money); so, f (buy) = (+to get sth by paying money) = - g (to give sth by receiving money) = g (sell).
Contrast; as this relation is a type of antonymy, the very formal expression of [(23)] works for this relation as well.
The efficiency and correctness of the presented formal expressions are discussed in detail in the paper using various examples from Persian.
In the end, it is concluded that the sense relation of opposition in word pairs (which includes several sub-categories) can be formalized applying concepts from logic, set theory and mathematics.
[1] . The numbers in bracket corresponds to the suggested formal expressions presented in the paper.
[2] . sth : something

Debate is a system based on narration and the triple bases of narration - which according to Claude Bermond is consisted of: explanation of a stable stand, divergence possibility, and divergence impossibility –can be explored and retrieved in debate patterns. Due to the debate’s controversial nature and the possibility that one of the debaters might not be convinced, there’s more space and time to present more reasoning and continual analogies, allegories, and tirades, and hence in the end one of the debaters will overcome the other, the opposition between them is prominent. In classical literature of Iran, as one of the cradles of culture, discourses are debatable, because discourse atmosphere is a monologic. So works which are formatted in a conversational cast are based on the dominance of power. One of these works is “Elahi-Name” by Attar which is going to be investigated in this paper with a descriptive-analytical way. By employing debates in Elahi-Name, Attar shows the veracity of the patriarchal position held by Khalif against his six young sons and it also shows the meagerness of the efforts made against ancient customs in the horizon of Iranian intellectuality. Moreover, by the unconvinced position held by the sons, Attar uses time to prolong the speech and present telling explanations on the veracity of his position and hence achieve his didactical goals in Elahi-Name.

Being one of the highly-valued topics of Islamic thoughts, martyr and martyrdom have been addressed by numerous writers. Allama Mohammad Hossein Fadlallah, one of the contemporary poets and Shia authorities, reflects some social and religious aspects of martyr and martyrdom in his poems. Considering the latter sentence, this paper is focused on the determination of those martyr categories and the related features in which the poet is highly interested. The unique discriminating aspect of the poetry of Allama Fazlullah about martyr and martyrdom, which reinforces the importance of the present paper, is the fact that most of his poems, in terms of martyr and martyrdom, are related to the religious and intellectual leaders, martyrs of his era, including Muhammad Baqir al-Sadr, his sister Bentolhoda Sadr, and some of al-Dawa Islamic Party leaders who all, through their thoughts and beliefs, had some significant impacts on enlightening the people to fight against tyranny. Furthermore, having spent half of his life in Iraq, most of his poems are about the intellectual thinkers and religious leaders’ martyrs of Iraq. On the other hand, originating from the Holy Quran and the culture of Ashura, his views consist of some martyrs in Lebanon, Palestine and Iran too. Finally, in this paper, focusing on his "Pharisee Lil islam Val hyah" poetical works, the authors, in terms of martyr and martyrdom, try to evaluat the poems through a descriptive-analytical approach.

The issue of opposition is one of the most important issues in structuralism which is rooted in mythological and cultural beliefs of human being. This issue which has a special position in linguistics can be used in literary researches، especially in the analysis of texts. In this study، lexical oppositions in the poetry of Hakim Sanaie، the great poet of fifth and sixth centuries (A. H) who is one of the pioneers of Persian literature regarding his innovations in sonnet، ode and ballad، are explored. The main question of this research is that how much he has used opposition and what are the reasons of using such elements in his poetry. The results show that lexical oppositions with semantic load of antonymy comprise large parts of his poetry. Looking at his poetry structurally، it can be said that such opposite words are like signs which are related to the totality of his works، that is، no matter at which dimension we look at his poetry، there are elements which propel his poetry toward dichotomy. Such signs explain objectively his character، his individual and collective unconscious، the conditions of society and his epoch، his concern with mystical issues، presence of pedagogical thoughts in his poetry and semantic and artistic features of poet’s language.

Vast interrelationships in shahnameh require that it is looked at from different perspectives. According to the definition of tragedy which is the death of an ideal noble man in a story who falls from happiness to misery brings to mind this question that how human relationships proceed that eventuates the death of this man. Since in the ideal land of Iran relationships are based upon wisdom how do then these tragedies take place? The aim of this article is to analyze the tragedy of Siavash with respect to different relationship theories and their criteria in order to find other influential factors forming the tragedy. The conclusion reached in this research shows apart from wisdom there are other factors which can lead a relationship towards cooperation or contention and step by step complete the different pieces of a tragedy. The method of research is documentary. The analysis of the content is qualitative and quantitative and 1423 couplets were chosen from the story of Siavash in Jovayni’s Shahnameh.

Immigration i s a n important subject which h as always attracted the attention of critics and authors. Tahar Ben - J e l l ou n, t h e French author, i s o ne such instance. H is opinion is exceptiona l. With Downcast Eyes i s a masterpiece by this author. I n this masterpiece, h e displays the problems o f a n African girl in two parts (before and after immigration). The setting of this masterpiece containes the oppositions through which we can interpret the notions i n t he text. There fore, t his research i s a n opportunity t o study i n this masterpiece, t he oppositions through w h i c h w e c a n understand t h e author 's aims and messages.

In its very long history، Persian literature has had many scholars، men of letters، and poets، many of whom are famous all over the modern world. One great poet is KhaqaniShervani (520 H. G.) who used a plethora of hard-to-understand similes and metaphors. A reader should try hard to understand his poems. The present article studies a line from a poem by Khaqani. This line displays his vast knowledge of astronomy. The term opposition، one of the \ «five theories،\» is a phenomenon in which the sun and the moon are in the same line. It occurs when the moon is full.

Homogeneity means to be of the same type (genus). Mowlana has used it in his works to prove mystic issues. He believes that genus is based on internal affairs and main features, not on form. According to him, opposition is also a kind of homogeneity. Movement and development in worldly phenomena indicate an imperfection; phenomena move toward perfection. He believes that attraction and appeal can be direct or indirect. There is also a third factor to create the motivation for attraction and appeal. Mowlavi regards prophets and their followers to be of an angelic type and non-believers to be of a satanic type.