As the most influential Salafi scholar, Ibn Taymiyyah holds particular views with regard to Quranic exegesis. Extensive publications have been published about the foundations of his views. Yet, no research has been carried out about his literary foundations in exegesis. In the present study, the most important literary foundations of Ibn Taymiyyah in Quranic exegesis were explicated and critiqued to show that 'denial of trope' is the most important basis in the exegetic view of Ibn Taymiyyah. The reasons why Ibn Taymiyyah denies trope are: no mention of trope in the words of the companions and followers and salafi ulema, the lack of a comprehensive definition of trope, the denial of the creation of words and the claim for the banning nature of the language, the absence of proper signs for the recognition of truth versus trope and finally the denial of trope usages. Additionally, other exegetic foundations of Ibn Taymmiyah addressed in this study are: non-emphasizable feature of trope, the necessity of conflicts for references, the denial of eternal negation for “Lan” (literally 'will not'), not using letters instead of each other and the alteration of idioms and proverbs.

By comparing Dante Alighieri's Divine Comedy and Islamic mysticism (including its Quranic, discursive and literary foundations), it is possible to find many common issues between their epistemological foundations. The present article attempts to consider the state of fear and hope in the preface of Inferno (the first part of Divine Comedy) and Islamic mysticism by using analytic-comparative method. The results indicate that the cantos of Inferno, like Islamic mysticism, refer to the need of a wise old man (pir-e dānā) in the spiritual journey, following him in the beginning of suluk (the spiritual journey) to reach rational knowledge, going along with him after helplessness and the inability of reason to attain the Truth. But, in Inferno, contrary to Islamic mysticism, the concept of fear is prominent, love is seen less and fear of punishment is more prominent than fear of God's cunning. The reason for these differences is that Dante was influenced by the teachings of the Church; he was scared of God and was obliged by religious laws.

The difference between the interpretative foundations in the verses of al-Ahkam has been the source of jurisprudential disputes. The literary foundations are around that letter. However, there is a need for further research in order to gain a clearer understanding of God and proper jurisprudential inference. This article deals with the comparative study of the meaning of "Eli" in the verse 6 of Surah Mubarak by analytical-critical method. Among the true and virtual meanings given to the word "Eli", the true meaning of "Eli" is "the end". The rest of the meanings like "Eli" meaning "Mo", "Explanation", "Fi", "Lam", "I", "Anand", "Ba" and the meaning of Emphasis are all virtual in their true meaning. Have been used. Farragin's commentators have considered the use of "Eli" in this verse to mean "Ma", "I", "Hadd" and "the end of the end". Literally the end of the sentence has been used and it is tempting to use the word iodine to determine the extent of hand washing. "Eli al-Mrafaq" is the subject of "Idicom". Given the necessity, lack of eloquence, lack of verse in terms of expressing the quality of the bath, abundant news and narrations, it is "Eli" to express the end of the brain rather than the bath, which is due to the iodine given to wash hands in ablution. And for reasons such as tradition, reason, consensus and custom, the quality of handwashing in the ablution of the elbows to the fingers is proven.

This text will attempt to analyze and interpret the form and content of the book "Literature and Film Guides", based on the predetermined structure. The method of this paper is descriptive-analytical and, by referring to the various chapters of the book and the articles in it, examine how to formulate the goals of the author (s). During the review of the book, we find that the book is in the form of three books, each of which focuses on the theoretical foundations of cinema and the relationship between cinema and other arts and their impact on cinema. In this way, the author deals with the role of literary adaptations in the cinema by collecting various articles from various authors. The structure of the book is good, and the various articles are classified according to the order of the years of the works to which they are spoken.

The essential role of literary aspects in the interpretation of the Holy Quran is vivid to all, and the extensive use of literary discussions in the interpretations of the Quran in various periods of the history of the both Shia and Sunni interpretations of the Holy Quran illustrates its important role in exegetic science. The commentary entitled "Al-Muharir al-Wajiz al-Taqsir al-Mut 'aliz" by Ibn Atiyah Andalusia is one of the most important interpretations of the literary-ijtihad school of the Western Islamic world, and one of the main sources of literary debates. His morphological method comprises mentioning the exact meaning of the Quranic strange words and prioritizing the voices of literalists about its derivation, references to the Quranic ayahs, and the affirmation of the ancient Arabic poetry. Further, the expression of the syntactic views of the two schools of Basra and Kufa and the preference for the syntax of the public, in particular "Sibawayh", and the mention of their differences of opinion, constitute the method of the interpreter's work in explaining syntactic issues. The realization of the meanings of the Quranic words and the needlessness of the interpreter from the permissible use of it has made rhetorical issues in his interpretation limited and rudimentary.
This descriptive analytical study seeks to explain the basis of literary interpretation of Ibn Atiyya by inducing and extracting evidence and analyzing them, in order to know about how Ibn Atiyya used literary sources in the commentary of al-Muharar al-Wajis.

Science plays are a new genre in the field of dramatic plays which is rooted in the past. Marlow and Shakespeare are the first playwrights who tried to use scientific subjects in their plays. Before reaching modern time، some of playwrights had concerned on some subjects that were related to scientific subjects، especially chemistry and physics. After the explosion of atomic bomb، among scientific progress of human society، drama showed its interest in similar themes. Now، after atomic bomb explosion in Hiroshima، playwrights attempted to protest against science and its danger for human. This opinion is given in the works of Berthold Brecht and Friedrich Durrenmatt -Galileo and Physicist. In the twentieth century، scientific approach to the development of technology is based on scientific theories and human achievements in the field of science and industry. Most of the scientific aspects of art can be found in the postmodern works. In recent years، literary foundations have showed their interests in scientific plays. Some plays are considered important by scientific institutions and art societies. For example، plays like Copenhagen by Michael Frayne، Wet by Margaret Hudson and Proof by David Auburn has awarded in New York literature Award and Pulitzer Award. Thinkers such as Jean-François Lyotard and Jean Baudrillard give some opinions about the postmodernism and art which explaine the features of these works. Based on these theories، these plays can be categorized as scientific plays which have properties of postmodernism literature. Postmodern plays are a kind of language game in form of intertextuality. Tom Stoppard، British contemporary playwright، is more well-known than other writers because of his effective ideas. Arcadia (1993) with choosing chaos theory as a framework for narrative structure، is the most important scientific play. The framework of this study is Lyotard’s Metanarratives theory and Baudrillard’s opinions about postmodern literature. It is proven scientific position among the works of postmodern- like some plays such as Arcadia. Stoppard، by postmodernism approach and scientific theories like thermodynamics، Newtonian physics، algorithm، mathematics and chaos theory، has succeeded in challenging science in dramatic structure. He could reconcile scientific theories with dramatic elements and merge plot and thematic schemata into scientific subjects in his play. Based on Lyotard’s theory about postmodernism، Stoppard has tried to deny Meta-narrations versus legitimate knowledge. Creating a world between fiction and reality، Stoppard makes Arcadia a story about never happened events that can never be found in history، however all subjects have special position in history. Baudrillard categorized these plays among science–fiction literature and argued about relation between this genre and public media. In Arcadia، particularly in ending scene، past and present times are mixing up together to make a fiction situation that can only be seen in science–fiction stories or movies. So، it can be concluded that scientific plays have postmodern aspects.

One of the best ways to introduce and introduce the cultural background of different nations and nations and their authenticity is to pay attention to manuscripts; Because these copies are part of the heritage and cultural, literary and historical birth certificate of a nation, and their introduction and correction is considered a big step in valuing and strengthening the cultural and literary foundations of a language. One of these copies is the manuscript of Mirza Taghi Sahib Ali-Abadi's Kolliat, one of the poets of the second half of the 13th century. The main purpose of this research is to introduce the manuscript of the generals of this powerful poet and to examine and analyze its stylistic features from three linguistic, literary and intellectual perspectives.

The work method in this research is descriptive-analytical and the data were collected by writing sheets and sampling the text with repeated reading and checking and selecting repetitive options. Sometimes mentioning rare cases has helped to answer and approach the research questions.

The findings of the research indicate that the content of this work has some characteristics of Khorasani style, such as old combinations and words, use of verbs in the old form, use of literary arrays, similes, intelligible allusions and exoteric metaphors. This poet has used linguistic and literary possibilities in the service of religious teachings and praising the kings and rulers of his time.

The results of the research indicate that Mirza Mohammad Taghi Ali-Abadi Mazandarani has succeeded in composing odes with a literary taste in the old style, especially the poets of the Khorasani style. The description of Mamdooh, easy-to-understand similes and metaphors, simple language and sometimes the use of Arabic compounds in a difficult context according to the requirements of the court style, mention of religious, Quranic and mystical terms is some of the features of this system.

The present research deals with the common archetypal origin of poems composed by Abdul-Wahab al-Bayati and Mehdi Akhavan Sales, two contemporary poets from Iraq and Iran respectively. The objective of this article is to reveal the way the literature of different nations such as Iran and Iraq, enjoy an organic unity due to common archetypal foundations. This article uses an inductive approach and an analytical-comparative research method to analyze the common manifestations and representations of anima archetype that has been unconsciously woven into the creation of the two literary works. The researchers consider the common motifs within the two works as their archetypal deep structure. The objective of this research is not only to psychoanalyze the two literary pieces, but also to deconstruct two contemporary literary works from Iran and Iraq with an analyticalcomparative approach. This research indicates the potentials of archetypal criticism in comparative studies and reveals the convergence of literary criticism and comparative literature. The result of this study shows that in spite of common archetypal foundations in both texts, the poems of Bayati have deeper archetypal motifs.

Abstract : In this article we will study “Eco-critique” which is one of the new approaches in the domain literary critique. Primarily we procced to pioneers of this approach, afterwards to the relation of human and nature, and then to representation of nature in the literary works. Also we will see the logic foundation of Eco-critique. Finally we will finish this article with the analyses of an example of a short history of Jean GIONO, with the name of “A man who plant a tree.” Abstract : In this article we will study “Eco-critique” which is one of the new approaches in the domain literary critique. Primarily we procced to pioneers of this approach, afterwards to the relation of human and nature, and then to representation of nature in the literary works. Also we will see the logic foundation of Eco-critique. Finally we will finish this article with the analyses of an example of a short history of Jean GIONO, with the name of “A man who plant a tree.”

The comparison between films and literary sources is the base of comparative studies in adaptation. These writings can be divided as: the books or theses wrote independently and by one author; the collection of essays which controlled by a cultural foundation or a company of cinema; the researches that analyze literary works by the view of “narrative elements”، “stylistic elements” and “stylistic & narrative elements”; the works which critic literature according to cinema criticism. Dispersed and short comments in newspapers. All of these studies are kind of literary criticism because of new conception by new methods.