There are certain relationship among the symbols of power and the power concept as well as political myths. The symbols of power and their mythical meaning are coneptualized through political believes. The common functions of all symbols and myths of power revise in their structural coherence. This essay tries to research and analyze the symbols of power in the Khaghani’s poems according to structural functional theory in order to show the structural coherence of power symbols, their meaning and their common function. In this regard through the analysis of his poems, we will try to provide a clear image of the structure of political sphere and power structure in the poet’s period.

Our accessibility to myths has been limited for us throughout the history for some reasons. Today, most people has the concept of snake as pest and insidious simply for fear of bite and death. For this reason, human beings have come to reflect the continuation of an old tradition belonging to myths whose phenomena are the experiences and truths of people's lives, hidden in a myriad of stories and fantasies over time. This is certainly a combination of self and animals which has the domesticated role and is considered the symbol of power against animals. In relation to Shāmārān’s myth, the relationship between man and the snake has taken over time a new form to the extent that the snake becomes a part of human existence and forms a hybrid being. Shāmarān (half human - half snake), the myth of Kurdish culture, is one of the motives associated with this culture throughout history. In the motives of Kurdish people of Mokriyān, Shāmārān is the goddess of snakes which is the symbol of treasure and wealth attributed to it- an old metaphor of the knowledge it possesses. The myth, the repetition of animal motifs and their frequency of use, reflect the beliefs of the peoples in this culture. The snake is the most sacred symbol of the Kurds and the shāmār represents the material and immaterial knowledge and the conservation of the secrets for the Kurds. The method used in this study is descriptive-analytical and historical in nature, and it has been attempted to describe and compare the role of this animal in different parts of Mokariyān in Mahābād. The results showed that Shāmārān is the symbol of power, wisdom, blessing, friendship and protection, and its image woven on the crafts of local residents such as the curtain, the handkerchief and the cradle indicates a strong presence.

Due to the conditions of the time or for their personal likings, all poets have taken advantages of symbolism and symbols. MolanaJalaladdin has also depicted his three friends, Shams, Salahaddin, and Hessameddin, through the language of symbols. At times he has compared them to the sun, which has long been the symbol of warmth, and holiness; at other times he uses symbols such as water as the origin of life, mirror as the symbol of purity, and hawk as a symbol of power and value.Molana symbolizes his enemies as bats, golden swords …. The present study aims at examining and comparing the three friends of Molana as depicted in Divan and Mathnavi.

This article consists of two sections: 1. The theoretical section، which includes an introduction about aesthetic illustration and chronological order of the earlier critics who have presented beautiful illustrations of the Holy Qur’ān as well as the beautiful Qur’ānic illustrations in modern researches. 2. The comparative section، which includes a brief glance at previous researches on the aesthetic illustrations in general and the Qur’ānic conversation in particular. In this article، we have divided conversations into specific and general illustrations، and then explained the subject with a technical and aesthetical analysis، elucidated the rhetorical and aesthetical discourses including the consistency of the single words and verses، and divided them into verbal and figurative. We have given evidences for each section and have taken into consideration the technical and religious phrasing and images such as cane (symbol of power)، hand (symbol of work and whiteness)، and the ropes (symbol of the witches’ power and deception); and finally، we have given evidences of the verses of the Qur’ān for each section of the conversations، which shows to the reader its aesthetic illustration and its impact on communicating messages to the readers.

Gods are very important in ancient Egyptian civilization and art. Egyptian gods, like the god Ra (god of the sun) and the god Horus (god of the sky), were sources from nature. Symbols have been used a lot in Egyptian art. Egyptian art is symbolic and symbolic art, and Egyptian artists have used these symbols in their works of art. The colours used by them were also symbolic and had meaning. According to the position of each deity, Egyptian artists have used different colours, animals and shapes in the appearance of these deities. Artists have used a human body, animal head and face (falcon) in the representation of god Ra and god Horus. The statistical population of this research is the Egyptian works of art in which the gods Ra and Horus are depicted; such as: mural, relief and stelae or inscribed stones in temples and tombs. The author tries to answer the question of this research with the descriptive-analytical research method and by collecting information with a library method, which is the relationship between the symbolic concept of the colours and forms of the gods Ra and Horus in Egyptian paintings and reliefs with their characteristics and positions. What is the mythology of the mentioned gods? The purpose of this research is to study the appearance of Ra and Horus in Egyptian works of art.Egyptian art is a symbolic art that is a combination of eternalism, religion, immortality and belief in the afterlife. Egyptian artists always reflected the good aspects of life in their works and used colour to bring the figures to life. The remains of this civilization date back to 5000 BC. until 3000 BC. Egyptian civilization in the transition period (from hunting to agriculture) like other civilizations that were formed by the big rivers, It was created by the Nile River. Nature is very important for Egyptians and their gods originated from nature. The gods of the sun have special importance in different tribes and nations such as Egypt. In the Egyptian civilization, there have been many gods, each of which had a place; Like: god Ra (god of the sun), Anubis (god of death, dead and burial), Horus (god of the sky), Osiris (god of the underworld), Bes (god of marriage), Khepri (god of life changes), Set, also known as Seth and Suetekh, (god of chaos) and, etc. . Egyptian artists have used different and diverse colours, animals and shapes in depicting the gods, according to their positions. These colours, animals and shapes each have a symbol in Egyptian culture. Animals have been symbolic figures in Egyptian art. The images of these gods are used in architecture, ornaments, sculptures, murals, reliefs, inscribed stones, etc. The statistical population of this research is murals and reliefs in tombs, catacombs, temples and stelae. Egyptian artists used six colours, green, blue, red, yellow, white and black. According to the statistical population, the main question and the purpose of the current research; in this research, blue, yellow, red and white colours have been investigated more. In addition, it has investigated the symbolic concepts of animals, nature and shapes. The present research tries to answer the question and purpose of this research with the descriptive-analytical method and collecting information in a library method, so that by examining the statistical population of this research, the apparent, conceptual and symbolic similarities and differences of these two deities can be determined. The data of this research is qualitative. The statistical population of this research is Egyptian works of art (murals, reliefs and stone inscriptions). The sampling of this research is purposeful and by selecting the works in which there is a colour depiction of the gods Ra and Horus. First, with the descriptive method; It defines the myth, Egyptian civilization, Egyptian art and symbolic concepts, and then analyses the symbolic concepts of colours and shapes used in the depiction of God Ra and Horus in Egyptian works of art. In every culture and civilization, colours, shapes, nature, animals. have symbols that are rooted in the past of that civilization. In Egyptian art and motifs, every sign and pattern has a symbolic meaning and religious beliefs. The combination of these motifs together is a religious story and a religious epic, for example, the eagle is a symbol of royalty and ambition, the circle is the symbol of the sun god, the scepter is the symbol of royalty, the key is the symbol of life, the lion is the symbol of power, and the snake is the symbol of Pharaoh's supreme law.According to the agreement of most authors, the beginning of symbolic thought goes back to prehistory or the last part of the Paleolithic era. Another manifestation of mythology is its pictorial form; Myths are not always in the form of stories and narratives, but can be transformed into carvings. Pictorial expression is symbolic expression. In order to understand it, the depicted symbols must be translated into words so that they can be digested, but the mythological man did not need to translate these meanings and codes because he had learned the mystery of these mythological images from his ancestors. Mythological images were shown in rituals, and customs. Since ancient times, colours have always been around humans and had an impact on humans. Colour is one of the most important tools and means of expression in works of art. People in every culture and often regardless of their culture, react sensitively to colours. In history, colour has been associated with gods. Egyptian life is full of colourful symbols. In the Egyptian culture, the symbolic value of colours entered into their works of art. The Egyptians used 6 main colours (red, yellow, blue, green, black and white). By overlapping these colours, various shades of colour are created. Egyptians believed that colour is used not only for the beauty of the work but also for its perceived meaning. Also, they believed that some colours are not only symbolic, but have special powers or characteristics that relate to different gods. In order to understand these symbols, one must understand their meaning in every culture and civilization. Egyptian art and culture also have symbols. By examining the appearance characteristics of the gods Ra and Horus, the present research has achieved the connection between the symbolic concept of the colours and shapes of these gods in Egyptian paintings and reliefs with the characteristics and mythological status of them. Colours and shapes with special meanings have been used in visual depiction of god Ra, the sun god. His circular crown is a symbol of the sun and its red colour is a symbol of power. On this crown, there is a yellow snake, which is a symbol of power and the yellow colour is a symbol of the sun, immortality. In Egyptian reliefs and murals, two colours are used for the body colour of this god; Sometimes blue is a symbol of the sky and its place, and sometimes red is a symbol of victory and power. The head and face of this god is in the form of a falcon, which is a symbol of power, sky and sun. In Egyptian civilization, Horus is considered the god of the sky. The colours and shapes used in the appearance of this deity express a special meaning. His crown represents his kingdom over all of Upper Egypt and Lower Egypt, which has a hybrid shape. The main body of this crown is white, which is a symbol of renewed life; The downward triangle of the crown means water and its red colour is a symbol of victory and power; The spiral shape above the crown symbolizes powerful forces in red. This god with a red body is a symbol of power and victory. The head and face of Horus, the god of the whole sky, is in the form of a falcon. This bird has a meaning of power and sky.

One of the distinctive manifestations of odes at Age of is Jahelid is depiction and description of ridding animal for the Jahelid Arabic man in general and camel in particular, that is friend, attendant and associate for the poet and apparently by allusive borrowing from limbs of symbolic animals like zebra, ox and ostrich etc he/ she has sparsely illustrated it. Unlike the technique adapted by prior critics and some of contemporary orators, this paper is intended to interpret variously seemingly- diffusive descriptions from Jahelid Arabic poet from his/ her ridding animal in order to reveal depth of links among concepts and their different themes by analysis based on symbolic deciphering and decoding and such symbolic elements to be embodied within a mythical nature. Accordingly, it does not seem probable that in Jahelid ode, camel to be symbol of an ideal poet or human that was linked to camel and it is symbol of power, agility, wisedome, keenness, prudence, sense of responsibility, rigidness and stability etc

In this paper, we use Critical Conversation Analysis (CCA), Semiotics and Membership Categorization Devices (MCD) methods to conversations analysis a Teahouse customers in Mashad city. Our main concern is that to show how this conflict reveals itself in a shared memory of several customers who confront formal power, and how in expressing such memories, we observe signs of resistance, even in the lowest levels of social life, in a life world arena. This qualitative study within three months of the study and a researcher in the field of audio recording of conversations and analysis of conversations is replication rules. A purposive sample of four main groups present in Teahouse and conversation among members of the group, which included a diary of humor is the face of official symbols of power, has been studied. The results show that the members of the colony as Teahouse indirect method, where groups such as the tea itself, the humor of his memories of dealing directly with the established authority, a social indifference in the face of pressure the formal powers of everyday life.

The theological-religious influence of the eulogists in the social body, mosques and religious ceremonies in the Islamic Republic of Iran and the support of some elements, layers and symbols of power of this group in important political developments such as elections and ... cause their entry and influence on power relations. It has become a pressure group and a beneficiary. However, the policy of religious eulogists and poets in our country is not well coordinated and this issue has often created tension for the system and has caused the downfall or deviation of some religious eulogy and poets and political groups. Using the descriptive-analytical method, the present study focuses its study and study on praise and politics, and tries to take a brief look at the history and the current situation of holding eulogies and ritual poets, and then to examine the processes that have led to the formation of political eulogists and, consequently, political eulogy in the country.

Celebrations as rituals during the peak of the Gūrkāniyān in India from the time of Akbar to the period of Aurangzeb were of great significance. The ceremonies accompanied by music and joy added a lot of excitement to the celebrations, to the extent that the fame of these magnificent celebrations crossed the borders of the Empire and attracted foreign observers to Agra. The efforts the kings of Gūrkāni to hold these elaborate and costly celebrations, the multiplicity and diversity of the celebrations, and the emphasis on non-religious celebrations and specific local celebrations raise the question of what the functions of these celebrations, both religious and non-religious were and what did motivate the kings of Gūrkāni to organize these celebrations? This research aims to examine and analyze this topic, considering the function of rituals in cultural anthropology and using a descriptive-analytical method based on library resources and artifacts available in museums. The findings indicate that the celebrations of this period, as rituals, played an important role in identity formation and social cohesion around the ruling power, were perceived as symbols of power, glory, and wealth, and contributed to the legitimacy of the kings of Gūrkāni.

There have always been Features and characters in different cultures and literatures that because of their unique characteristics، they have had the ability for going beyond their dramatic personality and becoming one of the outstanding features in people’s mind. These features and characters، in addition to their literary position، have such a popularity، historic presence and inspiring aspects in people’s mind that we can call them “the cultural sculptures” or “the eternal samples of mind” of the society. Faust، The hero of Guteh، and Sheikh San’an، hero of Manteghotteyr، are some of these eternal samples of societies. They are the symbol of power inclined will and، spiritual leader of my stoicism، are two features that in this research are studied and compared.