مجله دراسات فی العلوم الانسانیه
سال بیست و ششم شماره 2 (خریف 1441)

Through an applied text study we try to get closer to “Rehlat Ebn Fatoma” distinguished by structure and composition, by Nagiub Mahfouz Egyptian novelist, and perhaps the most important characteristics is its mastery to contain a recall of the heritage of mystical and spiritual literature, that Makes this navel tends its own shoved to meet the novelist thecnical inspiration in the search for truth and spiritual perfection through a mystical experience of love. Mahfouz's ambition to enrich his narrative experience by expanding the meaning of love in Iranian Sufism stories, like the story of “Al- Shaikh Sanaan va Al-Fatat Al- Rumiah”by Attar Al- Nayshabouri, contributed to the formulation of the mystical structure of the novel in terms of idea and aesthetically and represent a creative image raises the question: How did Nagiub Mahfouz recall the Sufiam dominant thought of the text of Al-Shaikh Sanaan in Rehlat Ebn Fatoma? The applied-  analytical approach is desiring to stand on the Suism discours manifestations of the story of Al-Shaikh Sanaan in Mahfouz’z novel and try to reveal the suggestive semantics like the role of women in achiving the mystic style and the dimensions of dream or imagination and travel from the countries trip to the travel of hearts and examination in thought and in the production of Sufi meaning.

Textual cohesion is one of the important elements of pivotal text and is a set of form (shape cohesion) and semantic (Coherence) tools that contributes the interconnection of text and the interrelationship between its components, so shape cohesion is due to the application of elements which makes the apparent relation between the constituent elements of the text. Reference is a form of shape cohesion that contributes in realization of communication and interconnection of the components of a text, but it does not assume that role alone, but understanding the elements in the context depends on the interpretation and explanation of other elements in the same context which they refer to and this communication is realized through referencing links such as out-of-text and in-context reference, which in-text also refer to two types of pre-reference and post-reference. The present article seeks to examine the issue of its reference and application in the interconnection of Sharif Morteza`s  Al-Ghadir ode, a Muslim poet who is also committed to the issues of Islam to reveal how the elements of reference are used and their role in realizing the amount of communication and integrity of the elements of this ode. From the analysis of referential elements in the Sharif Morteza`s Al-Ghadir ode, it appears that a set of elements have joined together in shaping this religious story and its semantic structure and, so the present ode is coherent and intertwined, so the elements and means of reference in this ode are varied, as far as we can see the in-text reference has increased in the poet's ode, and at the same time the poet has used more pre-reference elements than post-reference elements and this application has played a significant role in the interconnection and relevance of the ode verses. The artistic secret of this ode is in the referential elements and poetic imagery that makes the poet's intention close to the mind and helps the reader to accept the poet's ode more and more.

Attention to sexual harassment at workplace is a new phenomenon which has been the focus of researchers since the 1970s. There are many models and theories to explain sexual causes, most of which have socio-cultural, biological and personality roots,as well as organizational and cognitive origins. Recently, a multi-factor model has combined all factors to investigate this phenomenon. In this article, we have conducted in-depth interviews with 31 sexual harassment victims (with age groups ranging from 23 to 47). Applying the Snowball Method, the study found what the members of the focus group described their experiences and it analyzed the sexual harassment based on patterns and theories. In response to causes of sexual harassment, the findings of this study show that biological, social, cultural, organizational, and cognitive factors are effective but not sufficient in themselves and a multifactorial pattern can be used to explain the influential variables of this phenomenon.

The subject of physical and spiritual resurrection is one of the most challenging theological issues among Islamic scholars. Meanwhile, Fakhr Razi and Allameh Tabataba'i believe in spiritual resurrection. In this study, we intend to analyze the content and approach of the two great thinkers about the most significant resurrection doubts. A closer look at the works of Razi reveals that his words are more explicit on physical resurrection. He responds to the Corrosive and Eaten of deceit and man. Since he considers restorations permissible and God Almighty, he concludes that Restoration of Non-being is not abstained. Razi, in the immateriality of the human soul Doubt, refers to the contradiction of the soul and the body, which is separated from him when he dies and ascends to the universe. Also, the verses quoted by him do not indicate that the soul that is other than the body is Immateriality or not Immateriality. In contrast, Tabatabai avoids the Corrosive and Eaten and the Restoration of Non-being Doubt. In his view, there is nothing in the body and soul, because the body changes to other elements, and the soul is a Immateriality thing that is not corrupted by the death of the body. Tabataba'i, in response to the immateriality of the human soul of self-objectification Doubt, considers the regards the object as object, not matter. He believes that our body in the resurrection is like the earthly body. He also considers being objective in the self and preserving the human personality.

Bertolt Brecht wanted the theater to become a forum for dialogue rather than a platform for delusions, and to develop a new concept of theater creativity known as "Westernization" or "APEC Theater" which aims to stimulate the cash circle in the spectator's mind. This concept is based on the idea of "making what is strange" and this turns it into a poetic act. Brecht intended, from this concept, to extract emotion from theatrical production and to distance the viewer from the characters of the play and the actors' departure from their roles, and then the truth becomes easier to understand. Asghar Farhadi is considered one of the most important Iranian film directors, and he is one of the few who owns a style of their own, and The Salesman  is one of his most important films as we in this article seek to show the way this film took in order to find positive and interactive viewers through two main axes: characters and their conversations as well as direction. Here we can see the way the audience is formed. By extrapolating this film with the opinions of Brecht, and the reasons for the influence of the film "Froshendeh" or Salesman, on the audience, it will be analyzed through the concept of divergence and identification. It seems that Farhadi like Brecht uses the same indirect methods, to reach effective and active viewer and forcing the audience to think. But, of course, Farhadi's style does not contradict the audience's identification with the characters of the film, in addition to creating a special and modern type of divergence in his own way through camera movements, decoration, decoupage, film framing, and narrative. Because in the present era with ordinary subjects and a normal treatment of the story, this does not force the viewer to think.

Tawfiq al-Hakim is one of pioneers in Arabic literature and has produced a large volume of stories, dramas and articles. Odat al Ruoh or the Return of the Spirit is a story with critical realistic elements and portrays socio-political conditions and developments between the two world wars, especially the Egyptian revolution of 1919 led by Sa’ad Zaghloul. This story contains socialist realism elements, such as hope and optimism concerning reforms for a corrupted society. In this story, he has attempted to show a small part of the Egyptian society and its debilitating and terrible conditions. It tries to reflect the pain and difficulties Egyptian people had undergone to form unity to resist oppression and tyranny. This research aims to reflect on realism elements Tawfiq al-Hakim employed and more specifically how they were used in this story. In other words, this study tries to answer the questions as what realism the story has and how the personal life of the author affected it. The important findings suggest that this story is among the first ones, which are based on the school of realism because the author has been bold enough to criticize the reality and revealed the corrupted conditions of the Egyptian society when it was once occupied by Britain. It is considered important and reliable evidence for political and social history of Egypt.