نشریه پژوهش های بین رشته ای ادبی
پیاپی 11 (بهار و تابستان 1403)

One of the subjects that must be addressed in the study of contemporary Iranian literature is the impact of political, philosophical, and economic systems, or more precisely, the history of ideas. For example, understanding our contemporary literature is impossible without familiarity with the views of existentialist philosophers (Sartre, Heidegger, Camus, etc.) just as a precise comprehension of contemporary literature cannot be claimed without knowledge of Marxism and the thoughts of its intellectuals. This issue can be extended to other fields such as zoology. Darwin, the great nineteenth-century zoologist, though a zoologist, soon caught the attention of elites in other fields (especially in the humanities) who attempted to apply his theory to their own area of study. This is why we encounter many individuals, not only in the West but also in Iran, who have openly spoken of their influence by Darwin and his thought; Malik al-Shu'ara Bahar is one of these individuals. In his famous book on stylistics, he followed Darwin and his method, trying to examine the evolution of vocabulary in the same way Darwin had examined the evolution of animals. The influence of Darwin's views was not limited to stylistics and occurred in other areas such as literary criticism.

Review:

The present research aims to show the various forms of Darwin's influence on contemporary literature. This study attempts to answer several questions related to Darwin and his impact on contemporary literature. These questions include: Which contemporary poets and writers have been influenced by Darwin in creating their literary works? To what extent has the emergence of a new definition of literary criticism in the contemporary era been due to Iranians' familiarity with Darwin's ideas? How did Darwin's theory inspire Malik al-Shu'ara Bahar in establishing the science of stylistics? What role has Darwin's theory played in strengthening modern literary modernity in contemporary Iran?

The methodology of the current research is citation-based and relies on the examination of documents, books, and dissertations written in the contemporary period (from the late Qajar dynasty to the Islamic Revolution). Initially, all works written about Darwin or inspired by Darwin's theory were collected, and then, with a critical eye, various forms of Darwin's influence (in fields such as literary criticism, literary modernity, etc.) were examined and categorized.

The influence of Darwin and his ideas on Persian literature is much greater than it appears at first glance. This influence can be examined in four different forms. A) Content-wise: Some Iranian poets and writers, who rightly believed in Darwin's views, expressed Darwin's teachings in their works; Mirzadeh Eshghi is the most famous of these poets. However, apart from him, others like Sadegh Hedayat, who in the story of "Adam's Fathers," were influenced by Darwin's theory, can be mentioned. B) Literary modernity: The presence of Darwin's ideas in the essays of pioneers of literary modernity is evident. This presence is most notable in the works of Bahar and then in the essay "Old and New" by Abbas Iqbal Ashtiani. These innovators referred to Darwin and his views on the gradual evolution of beings to prove the gradual and peaceful (not revolutionary) nature of literary modernity. C) Stylistics: Bahar acknowledges his debt to Darwin in his own stylistics and his book on stylistics to the extent that it can be boldly stated that without familiarity with Darwin's theory, a deep understanding of Bahar's stylistics would not be possible. D) Modern literary criticism: A comparative analysis of the characteristics of modern literary criticism with Darwin's views leaves no doubt that modern literary criticism has been influenced by the Darwinian worldview that dominated the modern era.

Mokhtari's Shahryar nameh is one of the epic and mythological poems with a relatively large volume, the structure of which contains a main narrative and several sub-narratives. A romance has been expressed that, according to the action and confrontation of the characters in them, in the depth and depth of these romantic sub-narratives, various similarities and combinations with mythological themes and components can be found, and these mythological components can reflect certain fields of psychology. For this reason, in this research, the recognition of such mythological components in the romantic sub-narratives of Shahryar nameh and the explanation of the possibility or impossibility of reflecting the psychological fields through these mythological components, is presented as an important research problem, and their analysis can provide an answer to the research problem. In this research, three major questions are raised as follows: 1. Can the romantic narratives of Shahryar nameh Mokhtari be a subject to be investigated in terms of mythological and psychological criticism?In case of a positive answer to the first question; What is the mythology of Shahryar nameh 's love stories in terms of mythological criticism of the narrator?What archetypes or areas of psychological science do these myths reflect in their depth?The theory proposed in this research states that the romantic narratives in Shahryar nameh, like many epic stories, narrate various myths that can be analyzed from the point of view of psychology. Regarding the background of the research, only a few researches have been conducted on the subject of Shahryar nameh: Reza Ghafouri (2016) in an article titled "Attitude to Shahryar nameh and its Compilation Period" has investigated the most important differences between several manuscripts. Hassanpour and Qavam (2021) in the article "Archetypal Criticism of Shahryar nameh based on Jung's theory" based on Jung's analytical psychology in a different way from the method of this article by analyzing the symbolic numbers of the poem and Nine steps of Shahryar, his journey and journey in nine steps are symbolized.

Review:

Among the heroic texts of Iran, the story of the bravery of Shahryar is found in the Shahryar nameh poem, and in the Iranian folk texts. This work contains a main narrative and several sub-narratives. The main narrative of this work is the story of Shahryar, Barzo's son, from Sistan and going to India and finally returning to Iran and Sistan. All the sub-narratives of this work are eventually somehow connected with Shahryar's story. Many of the adventures in this poem are reminiscent of the stories of the Shah nama; In a way that in many places the poet clearly refers to the above-mentioned stories, such as: kidnapping of Delaram by Mezrab Div following the story of Akwan Div, nine steps of Shahryar like seven steps of Rostam, … In this article, only two relatively romantic narratives related to Shahryar are analyzed, each of them in one of the layers of meaning is a manifestation of Carl Gustav Jung's theories of individuality process and perfectionist self-knowledge and George Fraser's fertility myth. According to Jung, due to the collective unconscious origin of the subjects and the basis of legends, myths and stories are common and specific and are repeated always and everywhere, in fact, archetypes are the materials of the hereditary building of the human psyche in the formation of literary works. According to this reading, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) Shahryar's blame and lack of attention, has left it and entered the unconscious (India) by turning his back on the current reality. At this stage of his life, a wise and helpful old man in the form of a merchant takes care of him and provides the ground for change and exit from this stage by taking Shahryar to the public meeting of Arjang Shah and playing polo. During Arjang Shah's visit, the unruly elephant, attacked, who kills people and arms in the city square (sparks of power and inner ability), plays the role of a shadow in Shahryar's psyche, which, when Shahryar overcomes it, falls to the lower layers of the unconscious, and pushed back. After acting, Shahryar, by attracting the positive look and trust of Arjang Shah (symbolic father), again faced his real and class face, the warrior class, and accepted it, and with the meeting of Arjang Shah's daughter (Anima) and the projection of failed love and lack of affection Finally, by accepting the social role of a warlord, his motherly self reaches a psychological balance and harmony between consciousness and unconsciousness. A god or a hero goes to battle with the dragon and kills him, as a result, the water flows again and is free, and once again greenness and vitality return to nature.

From the point of view of Jung's psychological analysis, in this work, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) blame and lack of attention, Shahryar leaves it and enters India (the realm of the unconscious) and by choosing clothes and the mask of agriculture lives with anonymity instead of the mask of the warrior class; But as soon as he meets and gets to know the Iranian merchant (the wise old man of the story), the ground for his transformation is provided, and by confronting and overcoming the elephant, he becomes repressed (the shadow) and attracts the positive look and trust of Arjang Shah (the symbolic father) again with his real and classy face. That is, the warrior class faced and accepted it, and by marrying Arjang Shah's daughter (Anima), he reached harmony between consciousness and unconsciousness and went through the process of separation. From the point of view of the myth of dragon slaying and fertility, Shahryar is the hero of dragon slaying, who follows the abduction of the goddess of fertility (Delaram) by a dragon or a drought demon (Mezrab-Div) under the guidance of a worldly person (Jumhorshah) with the aim of releasing the goddess, steps on the path of Noh Khan and by going through different stages, he succeeds in freeing the girl from the whole (the world of the dead) and accomplishes his mission. In another reading, Shahryar is a martyred god who is symbolically killed by the conspiracy of a rival god (Frank) and is imprisoned in a whole (the world of the dead) until the goddess of fertility (Delaram) travels to the world of the dead with a disguised face and causes freedom and return.

According to the Conceptual Metaphor Theory, metaphor is the result of cognitive patterns in the mind and it is part of the thought. In this view metaphor is a mechanism for conceptualization and each concept to any extend abstract and complex, can be structured by various metaphors which each of them is a part of comprehensive metaphorical systems, together achieve the complex goal of describing that concept with its all aspects as we understand them. Although such metaphors do not present a single continuous objective image; they are overlapping and hence have coherence.World concept is an abstract concept that has been usually taken into account in Persian literature. In present research the main issue is to study the overlapping of “world” structural metaphors in Sa’adi’s and Parvin’s poems. This study has been concentrated on “world” structural metaphors to answer the following questions: a) what are the structural metaphors of “world” target domain in Sa’adi’s and Parvin’s poems? b) How is metaphorical coherence and overlap of “world” structural metaphors in both poets’ poems?A study that has paid its attention on overlapping and coherence of metaphors is for Hezaji and other (2020) by the name of “The Process of Coherence between the Conceptual Metaphors of the Holy Quran”. The researchers found Quran’s metaphorical language has offered coherence to all the desired concepts and thoughts towards its main goal. Among studies have been done about Life concept that is similar to World concept is Charteris-Black’s study (2017) that has surveyed metaphors of competition and ideology. He concluded that the effort for the creation of power is the result of ideological metaphor “Life as a race”. Luo (2018) by a corpus-based study on Life concept has discovered Chinese Life metaphors on the base of the cognitive linguistics approach.This research is a theoretical descriptive-analytic research. To find answers to questions, after mentioning the background; first Lakoff and Jhonsn’s (2003) cognitive perspective about metaphors and metaphorical coherence has been studied. Then based on the concepts of this view, the overlapping of metaphors of “world” in poems of Sa’adi and Parvin has been examined. Data have been gathered from Sa’adi’s (2002) and Parvin’s (2018) Ghasides and Ghetaas by taking notes. For discovering “world” structural metaphor, it was an attempt for extraction of both categories of explicit and contextual metaphorical mappings from the text through a deep studying. Then quantitative and qualitative comparison and analysis was done. It is noteworthy that some poems have had more than a “world” conceptual metaphor; therefore they have been repeated in related conceptual metaphors. In present research for each poet 1200 Ghasides and Ghetaas were chosen by random sampling method.

Review:

The survey of the structural metaphors of “world” in Sa’adi’s and Parvin’s poems shows because of the abstract essence of the concept and hence lack of its clarity, both poets have tried to express it through metaphors. Metaphors “world is journey”; “world is building”; “world is farm” in both poets’ poems convey a solid cultural foundation and are overlapped and hence have coherence. The base of overlapping of the mentioned metaphors is highlighting surface, progress, and content in a different way. In “world is journey” the surface can be passed by a specified program, in addition; its content is our behaviors on this path. In “world is building” the surface is the foundation and its content is life. In “world is farm” the surface is covered by careful attention to actions and behavior and its content determines the type of the life after death. Although each of the World metaphors in both poets’ poems makes understandable one aspect of life; altogether concentrate on all aspects of “world”. These metaphors in both poets’ poems grounded in correlation within their experience and conception of world; however, metaphorical variety of “world” concept is more in Parvin’s poems, generally there is an overlap among their aims.

The findings show among 94 extracted “world” structural metaphors, 21 have been seen in Sa’adi’s poems and 73 have been discovered in Parvin’s poems. Common structural source domains in both poets’ poems for conceptualizing “world” are building, journey, sea, farm, economy and war. Furthermore, the frequency of occurrence of structural metaphors “world is journey”; “world is building”; “world is farm” is high in both poets’ poems. The metaphor “world is farm” refers to the importance and role of how to live and shows the content of life for achieving the goals. The mentioned metaphor is overlapped with metaphors “world is journey” and “world is building”.

One of the common features between myths and fairy tales is shapeshifting, which is manifested by changing the shape of fictional characters into non-human beings, such as animals, demons, plants, fairies, gods, etc. The marriage of a maiden with a nonhuman (mostly a snake) has many manifestations in Iranian fairy tales, and its traces can be traced in several narratives, such as "Sultan-e- Mar's play, Mirza Mast-o-khomar and Bibi Mehrnegar, Shah Khestekhumar, the story of Ah, Mehrinnegar and Sultan-e-mar" and many other oral narratives originating from different regions of Iran. In European literature, there are numerous “Div-o-Delbar” stories in which a maiden marries a nonhuman being. Human-animal marriage has a mythological background in European literature, but in Persian literature, it is not possible to consider a mythological background for this type of literature, because in Iranian myths, contrary to folk traditions, there is not much evidence of this type of marriage.

Procedure Review:

In the writing of the first part of this article, we delve into the effects the aforementioned narratives have had on one another through the French approach of comparative literature; and in the second part, with an eye to the "psychoanalytic and archetypal" approaches, the discussed narratives are analyzed and their similarities and differences are explored. In psychoanalytic analysis, the theory and approaches of Freudian thinkers are the basis of work, and in archetypal analysis, the theory and approaches of Jungian thinkers.Considering the fact that there are different narrations of the aforementioned works, it is necessary to mention the sources and versions from which the narratives are taken. The works that are the basis of the analysis are:1- The story of "The girl who married a snake" from the Panchatantra attributed to Vishnu Sharma (see. Sharma, 1925: 177-179) and also the translation of this story from the book of Shirin and Delneshin Stories (Kalila and Demaneh): 27 short and informative stories from Panchatantra (see Kumar, 2013: 68-71).2- The mythological narrative of "Psyche and Cupid" from the book "Golden Ass" by Apuleius (cf. Apuleius, 1393: 171-122).3- The folk tale "Beauty and the Beast" taken from the book "Beauty and the Beast" (cf. Luprince De Beaumont, 2015).4- The folk tale of "Mirza Mast-o-khomar and Bibi Mehrnegar" which is taken from the book "the Encyclopedia of the legends of Iranian People" (cf. Darvishian and Khandan, 1399: 14/627-637) and has been analyzed among its Iranian counterparts.

The Transformation of a Narrative

The myth of Cupid and Psyche is a Roman story that was first mentioned in Lucius Apuleius' Golden Donkey, and due to the similarities between Roman and Greek gods, it entered Greek mythology in later periods. Although Friedrich Creuzer hypothesized that the myth of Cupid and Psyche is Iranian (Benson, 2020: 276) and Richard Reitzenstein also considered Iranian Gnostic origins for this story (Tommasi Moreschini, 2013: 126), but due to the fact that there is no evidence that shows this myth has been influenced by Iranian myths or stories, these hypotheses cannot be confirmed. One of the reasons given by these thinkers for the Iranian origins of the myth of Cupid and Psyche is that the Mithraic religion of Rome was taken from the Iranian Mithraic (Mehri) religion, and the narrative of Cupid andPsyche entered Roman mythology from the Mehri religion, and the other reason is that this narrative is based on the principles by which the school of Pythagoreanism (Pythagoreanism) was formed.Another hypothesis which cannot be relied on is that the myth of Cupid and Psyche is taken from the folk tale "The girl who married the snake" in Pancha Tantra (See: Bottigheimer, 1989: 5 & Zipes, 2013: 205-206) due to the fact that there is no document to prove that theRomans had access to the Pancha Tantra in the second century AD and the considerable differences between the narratives. Considering that Lucius Apuleius was one of the Romans who lived in Africa and was born in the city of Madaurus, which is located in today's Algeria, and the proximity of this land to Egypt and the possible knowledge of him and other residents of the city of Madaurus of Egyptian legends and myths , it can be said that the hypothesis of the influence of the myth of Cupid and Psyche is more stable than the myth of Isis and Osiris; Because in addition to the proximity of Egypt and Algeria and the great possibility of the people of Madaura being aware of Egyptian legends and myths, several other reasons can be considered to strengthen this hypothesis, which are: 1- The numerous similarities between the two mythological narratives, 2- Both of the narratives have dealt with the legends of gods and 3- sacred marriage in these myths.There is a story with a very similar narrative in the Indian Pancha Tantra, which, in comparison with the Roman myth, some Iranian narratives have many similarities to; this story is "A girl who married a snake." Considering the access of Iranians to Pancha Tantra and its entry into Persian literature, what can be more likely is to consider Iranian stories as ones influenced by the story of "The Girl Who Married a Snake" and European stories of human-animal marriage such as Beauty and the Beast and East of the Sun, West of the Moon as stories derived from the myth of Cupid and Psyche. It can also be said that there are mixed stories from Indian stories and Roman myths in Persian literature, which the influence of both narratives can be seen on them. Among them are the stories of "Mirza Mast-o-khomar and Bibi Mehrnegar" and "The Girl and the Jujubee Tree" in which traces of the Roman myth can be seen as well as the influence of the Indian story. Since the history of oral stories is not known, it is not possible to say in what period and how this combination took place.4) Psychological and archetypal analysis of human-animal marriage in the investigated traditionsIn the psychoanalytic approach to these narratives, they can be considered as an allegory of the initial fear of teenage girls in their first sexual encounter with men; It means that the narratives in which teenage girls see men as demons are considered to be symbolic, and in fact, they show the girl’s primary sexual anxiety in avoiding the loss of virginity imposed by the society and the environment. Moreover, in these narratives, we can see manifestations of Oedipus complex and Electra complex, which in the myth of "Cupid and Psyche" we witness its male type, that is, Oedipus complex, and in the two-folk tales, the Electra complex.

Through the archetypal lens, these stories can also be considered as an allegory of the journey of heroin and her desire for individuality. Another thing that is prominent in the archetypal approach to these narratives is the encounter with the archetypes of anima, animus and shadow, which has various manifestations. Furthermore, the confrontation between patriarchal, matriarchal and feminist attitudes is another archetypal situation that exists in these three narratives, which is accomplished by the dominance of the female hero(heroine).

Nowadays, literary sociology theory, as an appropriate mechanism for recognition and social and cultural analysis, has been considered by literary scholars. Among the many works, stories are more inclusive of various social issues that can be studied more deeply than the writer's community. In the meantime, the titles of the stories as the first sign that the reader is encountered, reveal the secrets of the quality and content of the work, the thoughts and feelings of the author, and especially the environmental conditions of the creation of the work. Hence, the titles of the works represent both emotional, social, historical, indigenous and climatic situations and in a wider range of metaphors, metaphors, metaphors, allegories and compositions or symbolic phrases that convey their creator's feelings, thoughts and beliefs to the audience.The question of this research is that what the social conditions surrounding the creation of the work have had in the title of contemporary stories from 1941 to 1978?In this research, we have analyzed the titles of Persian stories from 1953 to 1978. The research method is a descriptive analysis which is done as a library method.

Review:

Much has been said about contemporary fiction and the examination of various aspects of its long and short stories.  Sometimes the works of a storyteller and sometimes periodically or stylistically examine.In general, there has not been an independent research on the topic of "title" of Persian stories from 1953 to 1978 with a sociological approach.

In reviewing about 1200 of the titles of stories written in the years (1953-1978), we find that bitter streaks of despair, tyranny and repression of the coup of August 1953 (1953-1963) are seen in the story plans of post-coup years. In the second period (1963-1978), reactions to the sudden arrival of modernity and its influence on the social structure of traditional Iran are evident. The findings showed that the titles of the stories were influenced by the social conditions of the creation of the work following the plotting of the story in these two historical periods.

The theory of ethics of care is one of the attractive and innovative perspectives in contemporary moral education which is worth contemplating and attention from psychological and philosophical perspectives. In the works of Sa’di, both in his poetry and prose, there are many phrases, verses and anecdotes that can be examined and researched from the perspective of different sciences and knowledge, such as philosophy and psychology. Sa’di, with all his knowledge, wisdom and awareness, has used methods similar to the principles of the theory of ethics of care in addressing and improving social issues faced by individuals in society. By revisiting his works and studying the intellectual similarities between Sa’di and other thinkers, a solid foundation can be established for cultural and intellectual exchanges between different cultures and schools of thought. Today, fields such as philosophy, management, sociology, psychology, literature, and others are linked to the topics of education and moral upbringing, and the analysis of textual patterns and literary prose works provides valuable insights into social problems. Mosleh al-Din Sa’di Shirazi (606-690 AH) is an Iranian poet and writer who has spoken about teaching moral subjects and is regarded as one of the great social mentors who considers education as the foundation of human well-being and happiness. Consequently, he has incorporated practical wisdom and educational admonitions in his poems and stories. This study demonstrates that some of Sa’di's poems and stories are consistent and similar to the theoretical foundations and concepts of ethics of care and compassion-based educational theories proposed by Nel Noddings (born in 1929), an American philosopher of education. Noddings considers human beings as the center of moral education and believes that individuals, when faced with compassion, experience a state of distress and anxiety. As a result of this awakening, they recognize the needs of others, similar to their own needs, and strive to fulfill them, to the extent that they consider the needs of others as their own.

This article is an interdisciplinary research in the field of humanities, conducted using a descriptive method based on content analysis and data collection from library resources. The study is a survey that focuses on evaluating content extraction. To analyze the data, the concepts and content of Nel Noddings' theory of care were extracted based on her works, and then a comparative study was conducted between Sa’di's "Golestan" and "Boostan" and the theoretical foundations and principles of Nel Noddings' ethics of care to determine and interpret the level of alignment of the poems and stories.The present article answers the following question in its core

What are the instances of ethics of care from Nel Noddings' perspective in Sa’di's works?

 In his works, Sa’di is compassionate towards all the people of the world. He desires kindness for all humanity and advocates for peace. . He empathizes with the disabled and the unfortunate and encourages and advises benefactors to act kindly and virtuously

Based on the research findings, Sa’di's works extensively exhibit emotional concern for others and compassion for people globally. Attention to human values and emotional concern is a significant aspect of Sa’di's relational ethics. Some key specific findings of this article are as follows: Ethics of care from Nel Noddings and Sa’di emphasize affection. Ethics is evoked by a sense of duty, which is the essence of ethics of compassion According to Sa’di and Noddings, the main basis of moral education is responsible behavior, acceptance and accountability. Ethics based on the authenticity of affection, is approved by Sa’di and Noddings. Sa’di's ethics of compassion is universal and encompasses all humankind. In Sa’di's worldview, benevolence and assistance to others should be demonstrated through actions, and those who practice selflessness are superior to others.Sa’di and Noddings talk about maintaining and establishing communication between people. Communication gives meaning to human life. According to Noddings’ emotional school and Sa’di's view, the feeling of sympathy and emotionalism makes us share in the sadness and happiness of others. Sa’di, in the first chapter of Boostan, under the title "On justice, planning, and judgement", equates those who do not have a spirit of benefit to others as stones.From the point of view of Sa’di and Noddings, the ethics of care leads us to treat others ethically.

Throughout history, human settlement on the planet has gone through a hierarchy and has brought different ways of dwelling. At each stage of dwelling, by providing the needs of the previous stage, man has set foot on a new stage and improved his dwelling methods. "Dwelling is not just about having a roof over your head and a flat ground under your feet." Different ways of settlement have taken place in pursuit of the realization of the goal or the set of goals of humans. Each of these ways of dwelling on the earth is realized with the help of specific architectural buildings to that dwelling, and each architectural building has its unique characteristics due to being in a certain category of dwelling. This unique feature of architecture, in addition to the analysis of architectural buildings, can also be used in literary analysis. In the interdisciplinary studies of architecture and fiction, with the knowledge of the classification of buildings and their special way of settlement, literary analyses can be enriched and the relationship between architectural buildings and narrative can be examined from this perspective.

In the theory of The Concept of Dwelling, Christian Norberg-Schultz has divided the types of dwelling into four categories: Settlement, collective, public, and private dwelling. The city and the urban spaces form the collective dwelling, institutions are the place of the realization of the public dwelling and the house is the place of the realization of the private dwelling. Therefore, every architectural building, by being placed in one of the four ways of dwelling and their subsets, shows a form of manifestation of the existence between the earth and the sky and brings a unique appearance to the platform that is different from the others. For example, Norberg-Schultz compares the two architectural buildings of the church and the city hall in his book and believes that the church emphasizes "heavenly" concepts and the city hall pays attention to "earthly" aspects. This form of manifestation of existence in architectural buildings can be traced in fiction. In Samfoni-e Mordegan, the relationship and interest of each of the characters to a specific architectural building, with its specific settlement characteristics, form the identity of those characters. In other words, the type of residence they choose, reveals different aspects of their personality. This research seeks to answer the question, what are the unique features and characteristics of the architectural buildings with different residences in this novel, and how can these architectural spaces with different characteristics interact with the elements of the story and reveal the identity of the characters? In a general view, what capacities does architecture with this unique feature provide for the writer of fiction to express the desired concepts to describe the characters and represent their identity?

In Samfoni-e Mordegan, buildings and architectural elements such as Caravanserai, Ghahveh-Khaneh and house, kitchen, storeroom, window, and threshold were discussed and investigated. After the investigation, it was found that the architectural buildings are not just a setting for the plot of the story, but they have come to the aid of characterization in several different ways and have revealed the identity of the characters: the house, Ghahveh-Khaneh, and the Caravanserai are the continuation of the characters in this story. As a place of private residence with unique characteristics, which make it an impenetrable fortress, the house is equal to the father, who, although he seeks to bring the family together - like the function of the house - rules and doesn't let anyone into his world. The Ghahveh-Khaneh, which is designed in the place of an architectural building for public dwelling, represents Aydin as a cultural and intellectual character, who has also been pushed aside and rejected by Shurabi Lake; Also, at the beginning of the story, it is a warm, intimate and bright environment, and at the end of the story, it turns into a ruin. All these images remind Aydin, who as a child and teenager is full of passion and life and seeks to gain knowledge, but after a while, he is rejected by his family and the actions and behavior of his father and Urhan turn him into a madman. The Caravanserai, which in traditional Persian literature is a metaphor for the world, and in the story is also the place where the fire is built and the smoke rises from there, is equal to Urhan, who is a person who loves the world and is the cause of many problems of the Urkhani family, especially Aydin. In another connection between architecture and narrative, the author has described the character of Aydin with the help of the implied meanings of the basement as the place of the dead, and as it was also mentioned in the story of Aydin's mind in the fourth movement, Aydin is searching for the past and the dead and the reason for Aydin's interest in The basement also lies in this point. Finally, the elements of the kitchen and storage space, as well as the window, are used as a threshold to help describe Aida's character. The author shows the character of Aida to the reader by showing the meaning of the kitchen.

The analysis and rereading of the novel Samfoni-e Mordegan based on the theory of Norberg-Scholtz's Concept of Dwelling revealed a new dimension of this novel. After this analysis, it became clear that the architectural places in this novel are not just a background for the story to take place and have a role beyond this. Architectural places such as house, Ghahveh-Khaneh and Caravanserai are located in correspondence with fictional characters with the help of parallelism. Jaber Urkhani is parallel to the house, the Ghahveh-Khaneh is parallel to Aydin, and the Caravanserai is parallel to Urhan.

Ahmad Shamloo is one of the creators of modern Persian poetry and the founder of white poetry in Iran. They consider one of their reasons to be his widespread influence among Farangi poets; "Due to the length of his period as a poet and his various changes in the poetic and political fields, Shamloo is the best person whose art shows the influence of Persian poetry more clearly than others" (Shafi'i Kodkani, 2010: 526). As a result of the opponents, Shamloo is considered to be an example completely influenced by Persian poetry, thus raising the suspicion that Shamloo's poetry is not related to ancient Persian poetry. Based on this analysis and taking into account that every text is influenced by past texts, the question arises for the researcher: Does Shaer Shamloo have a relationship with ancient Persian poetry? If there is a connection, how is it manifested? This manifestation and reflection was more influenced by the poetic images of which style of Persian poetry or which ancient poet or poets? Since one of the ways to identify the degree of influence or lack of influence of the poet from the past or contemporaries is to identify the poetic images, in this article, the reflection of the poetic images of the ancient Persian poets in the poetic images of Ahmad Shamloo: simile, metaphor, irony, recognition and artistic attribute, is examined and is studied.

To conduct the present research, first, by studying Shamloo's poems, extracting and classifying his poetic images (about 4700 items) was attempted. After that, the search for classified poetic images including Shamloo in the works and divans of ancient Persian poets from the third century to the thirteenth century was done; The obtained images were matched with ancient texts, and at the end, the analysis of the obtained images (research data) was undertaken with a view to the theory of intertextuality and the analysis of literary traditionalism.

So far, no research has been done with this research approach, with this issue and with this hypothesis and questions in Shamloo's poetic images. Of course, many researches have been conducted in the field of Shamloo's poetry, and most of these researches either criticize Shamloo's poetry in general. and have examined or analyzed Shamloo's poetry from other perspectives. One of the works that has dealt with the image in Shamloo's poetry in recent years is "Examination of the image and its introduction in Shamloo's poetry" an article written by Farhad Tahmasabi. It is Vozhera Sarmi, which was published in "Literary Research" magazine, number 44, in 2013. In the analysis of the image process, the mentioned article relies on the role of imagination in the formation of the image and while maintaining the theoretical identity of the image, it has examined a structure with the titles of central image, image tool, image tone and image function (Tahmasabi and Sarmi, (1393: 107) and The issue of reflecting the images of ancient poets in Shamloo's poetry has not been paid attention to. Basically, the research problem of the mentioned article and its result is the connection of images with their situational context in Shamloo's poetry (ibid: 134), while the article proceeds with an intertextual approach and with various evidences. The investigation and analysis of various dimensions reflect the poetic images of ancient Persian poets on the poetic images of Ahmad Shamloo.

In the examination and comparison of Shamloo's poetic images with ancient Persian poetic images, it was revealed that Shamloo's poetry is not unrelated to Persian poetry, despite the opposition's claim that it is a complete reflection of Persian poetry. These studies show that the most images used in Shamloo's poetry are recognition, simile, artistic attribute, metaphor and irony, respectively, and the highest level of reflection of the poetic images of ancient Persian poets in Shamloo's poetry is respectively irony, simile, metaphor, recognition and adjective. Art can be seen. Also, the greatest influence of Shamloo among Iraqi style poets, followed by Indian and Khorasani poets respectively. Khorasani's style has been most influenced by Ferdowsi. Therefore, considering Shamloo's possession of the ancient Persian literature treasure; His way of using old images in a new context and the poet's creative power in benefiting from these images can be considered as a successful example for future poets.

Love is one of the basic concepts in Islamic mysticism and the basis of creation in the perspective of mysticism. Because love is an abstract concept, the mystics' words about love are metaphorical and symbolic, and in order to reach the foundation of the mystics' thinking and thought about love, it is necessary to analyze and interpret their words. Therefore, in this article, we intend to use the conceptual theory of metaphor to reach the basic concept or concepts that mystics have used to depict the image of love and reflected in their speech. Therefore, in the first step, we identify the metaphors of love in Molvi's works, in the second step, we specify the source domain of metaphors. In the third step, we will examine the relationship between social context and metaphor in order to reach the cultural and intellectual origins of love metaphors and the macro concept that lies behind the linguistic forms.

In this article, we analyzed the interpretations of love in Mowlavi's works and we saw that Mowlavi, with numerous and diverse metaphors, described love as having attributes such as learnable, uplifting and transforming, eternal and eternal, the origin of everything, generous, great and abundant, pure. , purifying, bountiful and rich, sheltering and liberating, attractive, dominant, carrier, life-giving, crazy, enlightening, eventful, leader and helper, beautiful, rebellious, brave, violent, catch, precious, delicious, holy, destroyer and sublime. He has known and got these attributes from the three domains of lover, king and God. Therefore, the mappings "Love is a lover" and "Love is a king" and "Love is God" are three conceptual keys of love, and two conceptual keys "Love is a lover" and "Love is a king" are derived from the macro metaphor "Love is God". Therefore, according to Mowlavi, love is God and all the attributes and characteristics of God, such as the two main features of being a creator and annihilator, are in love. Other characteristics of love can be placed under two important characteristics (creation and mortality: یحیی و یمیت). To know the empirical context of the metaphor "Love is God", attention should be paid to the characteristics of the beloved. In Mowlavi's thoughts, love is literally in the meaning of the beloved, and since the beloved can have different types and people, its attributes are also numerous, but these attributes are common in the two general directions of life-giving and death. That is, the love that causes the lover to live a happy and euphoric life and the love that causes the lover to be hurt and destroyed. The cultural and intellectual background of this metaphor is the ancient Iranian beliefs about the existence of two entities: spirit and matter. The ancient western, Iranian, Indian and Islamic ideas were founded on the originality of the spirit and validity of the substance. According to this idea, the soul is the whole and the matter is a part, God is the whole and man is a part, the upper world is the whole and the material world is a part. This dualistic thinking has led to the emergence of two groups of good and evil in all areas of thought, and the metaphors of love in Molvi's works are also based on the dual oppositions of good and evil and their subsets and their counterparts. Contrasting the water of life with the water of death (floods and storms), the wind of life (like the spring wind) and the wind of death (autumn wind), the fire of life (like the gold plant and the heat of the sun, which was obtained from Abraham being thrown into the fire, and is a type of test.) with the fire of death. The fire of life embraces the lover like Abraham and purifies it from material pollution and elevates it from the current level to a higher level and makes the copper of his existence golden. In addition, Mowlavi lived in an environment full of Jewish and Christian ideas, and in the Masnavi, he has repeatedly mentioned stories from the Torah and the Bible, and it is possible that in addition to the story of Abraham being thrown into the fire, which is also in the Holy Quran, with the story of the three Jews of Shadrach, Meshach, and Abednego, who were thrown into the fire by the order of Nebuchadnezzar, was familiar and took the life-giving fire from that story. In addition, he may have been familiar with the myth of Isis and Osiris, in which, like the story of Abraham, the child of King Melkart and Queen Astarte did not burn in the fire.

As we can see, Molavi's metaphors are taken from myths. The same myths that told the ancient people about the different aspects of the king, god, lover and its characteristics. This statement means that the linguistic and intellectual works of the ancient traditions were still present in the intellectual resources of Mowlavi and in the popular beliefs and atmosphere of his society, and perhaps he came to such an understanding of love without his will and expressed the attributes of love often with the same mythological interpretations, and sometimes he has used non-mythical language; For example, the elements of the metaphors related to the king and the lover are the same elements of the solar mythology, some of which have found their way to Mawlawi's thoughts through Jewish and Christian texts: elements such as sunshine, sun, rain, cloud, horse, fire, light.

Imprisonment is not merely depriving the subject of the physical dimension; But from the psychological point of view, it also causes hardships or deprivations for him. According to Lacan, any deprivation for the subject is a seizure of surplus pleasure for The Other. Depriving a prisoner is like restricting his freedom. This means that when freedom is taken away from the subject, pleasure is also denied to him; Therefore, the prisoner tries to compensate for the lack of this pleasure in another way, although his action does not seem to bring concrete freedom to him. Despite the lack of permanent deterrence of prison sentences for criminals from committing crimes, in some reports and statistical studies, it is observed that criminals intentionally commit crimes in order to return to prison and its restrictions. Imprisonment punishment with all its sufferings and hardships may also be enjoyable for the prisoners, and they experience an excess of pleasure with the imprisonment punishment that they would never be able to experience in freedom?

Based on this, respectively, in this research, the five components of imprisonment; A place for the minor criminal to comply with the sign of the criminal's desire, Imprisonment; A platform for the emergence of psychosis of the prisoners and their exclusion from the chain implying the desire of  The Other due to the capture of jouissance, Imprisonment; A place to take away the future from the imprisoned subject through his rejection, Emptying the jouissance of the imprisoned subject against symbolic castration and suicide as a hysterical act or the most moral act against symbolic castration have been evaluated in the reading and analysis of Lacanian characters in these stories.In this research, using the method of qualitative analysis and relying on the psychoanalytic teachings of Jacques Lacan, we have criticized the stories Prison of the Convicts, Ground Forgiveness and Mr. Author's Cold Coffee.

The study's findings demonstrate that, in Prison of Convicts, some prisoners tried to introduce themselves to a greater crime than what they were sentenced to it.this is also evident in most of the prisoners from their statements. In Mr. Author's Cold Coffee, most of the prisoners who were in the asylum had suffered from psychosis. In Ground Forgiveness, the narrator hopes to enjoy his freedom after coming out of prison; But such a thing does not materialize for him. The return or repetition of jouissance in the form of symptoms is more enjoyable for the narrator than the days of freedom. Souwlat's action, one of the narrator's juxtapositions, shows at the subconscious level that for a prisoner in the jouissance of imprisonment, there is an excess of pleasure that the subject cannot find in freedom; Therefore, despite the strictness of the law and the application of heavier punishment, the subject's more deviant behavior is not due to his lack of punishment, but due to the excess pleasure that exists in the crime and violation of the will of  The Other. Kianoosh commits suicide in Mr. Author's cold coffee and Pahlavan in Prison of Convicts. Suicide should be considered as a hysterical act in the imprisoned subject. The imprisoned subject accepts the punishment of imprisonment as a symbolic castration imposed on him. In this case, he tries to seize the jouissance for his own benefit by any action that violates the will of another. For example, gambling as a failed and unfinished drive and obscenity and talking about failures and the lost past are actions through which prisoners discharge their jouissance in the form of symptoms. If the subject cannot bear the punishment of imprisonment as a symbolic castration, he will commit suicide.

we have shown that the subject of imprisonment with a low history obeys the desire of the subject of imprisonment with a history. At the same time, the imprisoned subject is always ashamed of the big other because of the excess in his identity. Imprisonment provides a bed where the prisoners get out of the chain of signification of the desire of a great other due to the imposition of symbolic castration. If the prisoners do not accept the symbolic castration, they will suffer from psychosis and because of this, firstly, they will see themselves rejected by the society outside the prison, and secondly, they will not hope for a bright future for themselves. The imprisoned subject tries to seize the jouissance for his own benefit by any action that violates another's desire.

he main issue of the present article is to provide a bridge between Sa’di's thoughts in Boostan and social work based on the theory of Saadat Farabi (872 AD - 950 AD). Research questions; As one of the best poets of Persian educational literature, how did Sa’di deal with the concepts of social work in Boostan? Also, how is the connection between these garden concepts and the theory of Saadat Farabi? theories; In Boostan, Sa’di not only addressed many concepts of social work, but also made and institutionalized those concepts based on current rumors. Also, there are undeniable links between the educational concepts of Boostan Sa’di, which is in the field of social work, and the theory of Saadat Farabi.

The method of this research is library, descriptive-analytical and based on Boostan Sa’di's verses, principles of social work and Saadat Farabi's theory.

Literature Review:

Some sources of research background; "The Roots of Persian Literature in Social Work" by Ali Asghar Pakdel Soltani and Parviz Shams (1995), which generally focuses on the relationship between educational and social work literature and not on Sa’di in particular. Najaf Jokar (2006) in "The Ideal Society in the View of Farabi and Sa’di" examined the commonalities of the ideal city from the point of view of two thinkers in the field of governance and politics, while the topic of the research is intellectual and moral commonalities. Mary Muffet, W. and Jose B. Ashford (2021) in "Principles and Basics of Social Work" have only explained the intellectual and practical foundations of this knowledge. Therefore, none of the mentioned researches have addressed the topic in the present article, and it seems absolutely necessary to conduct this research.

Concepts related to social work have existed in Iranian culture for a long time and can be seen in literature as well. Farabi, a scientist of the 4th century, says that true happiness is achieved by doing good deeds, beautiful actions and moral virtues. He considers the way to achieve true happiness to be closer to God. (Farabi, 2002: 280) Social work knowledge is also based on achieving spiritual and true happiness. On the other hand, the teachings of Persian educational literature, which Sa’di is the leader of, can be considered as the eastern type of modern science of social work. Therefore, Boostan Sa’di and social work are along the theory of Saadat Farabi.According to Sa’di, it is the best kind of charity to receive the sense of happiness by the person himself. The real needy person is a helper and not a helper, because a benevolent person, by doing a good deed, reaches inner peace, which means true happiness. You only plant a seed of goodness, but in this profitable spiritual transaction, you reap the "harvests" of spirituality (ibid.: 62).helping poor; A helper, like a bridge, deliversaid to the materially and culturally needy in order of priority. (Halabi, 2018: 146) Sa’di says: It may be late tomorrow and you will die, so help the poor as soon as possible. (Ibid.: 66)compliance with social justice; The worker must inform the authorities about social justice. From Farabi's point of view, social justice is defined in the political field by expressing the utopia and the fair distribution of public benefits. (Farabi, 1992: 239) Sa’di tells the ruler that with more benevolence, you can gain more power (ibid.: 78).Helping orphans; From the point of view of social work science, an orphan is someone who does not have an effective guardian or guardian. (Johnson, 2000: 55) Sa’di, who himself was orphaned as a child, has a special regard for orphans and knows about their suffering. (Sa’di, 1989: 80)helping the elderly; Sa’di advises to preserve the dignity of the elderly and help them by young people - which is one of the concepts of helping. (Ibid.: 89)Helping travelers and strangers; Sa’di says that the traveler is our guest, we must respect him and protect him from any kind of harm. (Ibid.: 44)respect for prisoners and their families; Sa’di addresses the issue of the innocence of the imprisoned woman and child and recommends helping them - which is in the field of social work. (Ibid.: 51)Recommendation to comply with social work ethics; In his address to the helper, Sa’di explicitly stops him from looking arrogantly at the help-seekers: (Ibid: 80)

From Farabi's point of view, true happiness is associated with gaining spirituality, closeness to God and divine guidance, and distance from material and worldly affairs. In most of Boostan Sa’di's charitable concepts, a person does charity for his true happiness. Benevolence and charity is the most important message of Sa’di's help in Boostan. It is as if he has organized a code of social work, such as: helping the poor, paying attention to social justice, helping orphans and the homeless, respecting the elderly, respecting and helping travelers and strangers, helping prisoners and their families, and avoiding bribery. and self-esteem by the helper. The root of help should be found in the spiritual and philanthropic thoughts of the East, because long before the western world, it was discussed in Iranian philosophical texts, including Farabi's works, and also in the field of literary education, writers such as Sa’di, but centuries later, this social knowledge was compiled and Today's discipline has returned to Iran as a western science! Therefore, social work, the theory of Saadat Farabi and Boostan Sa’di should be considered as three sides of a triangle. The main side of this triangle is Saadat Farabi's theory of happiness, because both social work and Boostan Sa’di are based on the intellectual infrastructure of this theory.

Based on the classical view, metaphor, as one of the elements of image creation and imagination of words, had a purely literary function, and therefore, it should be investigated in one of the branches of rhetorical sciences, namely, the science of expression. According to this view, "metaphorical language is also considered a tool to depict poetry, which is not used in normal speech" (Afrashi and Naeimi, 2009: 11). But new studies in the field of metaphor show the fact that metaphor is not only a literary category; rather, the human perceptual system has a completely metaphorical nature, and people unconsciously use the metaphorical framework to understand concepts and issues, especially concepts that have an abstract nature.One of the important conceptual fields, for which an urgent need for conceptual metaphors is felt, is the field of categories related to illness and healing. The complexity of feelings, emotions and beliefs and perceptions of sick people about what, why and how the disease is, makes it difficult to directly express experiences; Especially, the sick person does not feel good about directly confronting the disease and its complications, and therefore it is his preference, those around him, and the treatment staff to have an indirect expression on this issue by using visual language. A feature that is clearly visible in the book "From Qaytariyeh to Orange County".

"From Qaitariya to Orange County" contains the life experiences of contemporary critic and writer Hamidreza Sadr on the issue of cancer. In 2017, Sadr became aware of the presence of advanced cancer in his body and decided to write his experiences about this disease. He died in July 1400 due to cancer. In this research, which is written in the descriptive manner of quantitative content analysis, it has been tried to focus on the images presented by the narrator about cancer, to examine different perceptions of this disease and to answer these questions that if metaphors, reflecting the patient's lived experience, the metaphors and images used by the narrator of "From Qaitariya to Orange County", which feelings and experiences do they show towards the disease? Secondly, what is the effect of this type of imaging of the disease on the patient's mood during the treatment process? And can the narrator's lived experience in "From Qaitariya to Orange County" be considered as a reminder to emphasize the need to change the patient's mind through schema therapy, at the same time as treating his body?In this regard, first all the textual evidences were identified and extracted, and then, while introducing the domain of origin and destination in the presented images - according to the suggested pattern in conceptual metaphors - these evidences were categorized and analyzed. As mentioned, the theoretical framework of this research is conceptual metaphor theory. A theory that assigns a metaphorical nature to the conceptual system that governs people's thoughts and considers the physical experiences of humans as well as the common experiences resulting from the individual's interaction with others as the main factor that creates these metaphors. It is necessary to pay attention to this principle that the category of conceptual metaphor in Johnson and Likoff's thought is more than classical metaphor and includes all the images that are categorized under simile, metaphor and irony in classical rhetoric.

Data analysis:

Examining 101 images of cancer presented throughout the text in various types such as conceptual metaphors, classical metaphors and similes, shows that the metaphor of "disease as an enemy" is the most used by repeating 40 times throughout the text. After this image, the metaphor "disease as a monster" has the next place with 13 times. The group of images of the metaphor "Facing illness as participating in a sports competition" is in the next position with 14 times, followed by the metaphors "Illness as a ruthless and tyrannical commander" and "Illness as captivity and prison" with 7 times. "Illness as a melting element" with 6 times, "Illness as a vagrant mob" 5 times, "Illness as a companion" 5 times, "Illness as a sinking phenomenon" 3 times and three images "Illness as a crushing element", "Illness as an abyss" and "disease as a storm", with the frequency of 2 times each, have occupied the next positions. Of course, it is important to mention that in this review, only images with more than one repetition have been discussed; Otherwise, there are limited cases of once-repeated images such as disease as a tree, disease as a seed, disease as a tailor, and disease as a hairdresser in the text, which were not considered in the present review due to the lack of repetition.The analysis of the goals and values hidden in these images shows the fact that the narrator of "From Qaytarieh to Orange County" had a negative attitude towards this disease from the very beginning of being aware of the presence of cancer cells in his body. A position where there is no sign of improvement or change anywhere in the text. In the entire narration, there is no effort from the narrator, the people around him, and the treatment staff to show the effort to correct this negative portrayal. In only one case, one of the patient's relatives intends to correct the patient's mentality by donating a book on coping with cancer, but the patient does not pay attention to this book.

It seems that if the narrator or those around him, in addition to the impressive and tireless efforts they made in order to perform various physical treatments, had also paid attention to the issue of changing the mental schemas and metaphors of the patient regarding cancer, the possibility of obtaining more favorable results from the treatment process would not have been out of mind. . Although the duration of Ravi's physical resistance against cancer cells has been according to the doctors' initial predictions and even more. But during the entire treatment period, the heavy shade of disappointment and boredom and annoyance accompanies the patient.In general, it can be said that the negative depiction of various diseases, including fatal and incurable diseases, diseases with a high prevalence and even curable diseases, and the use of images such as the enemy, monster, etc., although at first glance it induces a sense of struggle and resistance, but in the long run it causes There will be mental and emotional erosion of the sufferers, and therefore it is recommended to prepare the patient's spirit and mind to go through a process with the aim of managing and controlling the disease by replacing manageable and controllable schemas and patterns. A goal that the new findings of psychologists in the field of schema therapy can play an important role in fulfilling.

The female story writers have a special place and role in the contemporary period. The nucleus of the novels moves around the problems of women. While delineating their story, they present the inner world of the women which constitute their pains, sufferings, loneliness and apprehensions. One of the social evils which contemporary novels have covered is the type of human loneliness, loneliness as a dangerous factor that leads to the origin of several physical and psychological ailments which is always in the fore front. The important role of ideal family relationship controls and checks the development of loneliness. Therefore, the ideal family relationship and the feeling of loneliness are highly relevant to human existence. The sincere relationship and the feeling of loneliness are relevant to human existence. The sincere relationship as a marker of a psychological well-being is worthy of attention. An appropriate ideal relationship is an important factor which can reduce the feeling of loneliness and conduce a satisfactory life. The families whose members spend most of their time on mutual and reciprocal visits and exchange their views on various topics, they experience little loneliness. In fact, the ideal relationships make a beneficial impact on psychological health of an individual and fill his/her life with happiness. It is, thus, necessary to initiate the ideal relationship of families.Loneliness as a marker of human existential pain has been taken cognizance in Persian novels. Existentialism is the part of the preliminary school of thought that pays heed to human loneliness and it is constantly engaged with it. One of the philosophers of existentialism is Ervin Yalom who has dealt with the subject of pain and apprehension of loneliness. Most of his viewpoints are comparable with the fictional characters of Belgheis Soleimani (born 1342).

This research having access to the studies in the libraries and benefiting from the analytical methodology presents a review on the topic. Various markers and evidence based on the books of clinical psychology of existentialism authored by David Yalom resonate with the works of Belgheis Soleimani. The present article while discussing answers to the given questions.What is that fundamentally effective factor of loneliness of the characters in the fictional works of Belgheis Soleimani from the perspective of Yalom?Which of the types of lonely characters as per the view of David Yalom deserves more attention in the novel of Belgheis Soleimani.

David Yalom considers loneliness as the primary source of human pain and stress. His view point related to loneliness and isolation is fundamentally existentialist. Most of the characters of the fiction of Belgheis Soleimani suffer from loneliness and destitution. They are caught in the web of perplexity. The present research with a view to the causes of loneliness from the point of view of David Yalom and the works of Belgheis Soleimani is descriptive-analytical. The review aims at the study of the factors of loneliness in the characters of the stories of Belgheis Soleimani from the point of view of David Yalom.Based on the findings and results of the present research most of the fictional characters of Belgheis Soleimani are particularly women.  They endeavor to face the impediments of society. They strive to create a unique identity for themselves. But they do not succeed in it. Loneliness decimates them and leads them to commit suicide. During this period, family plays a fundamental role in the loneliness of the fictional characters of Belgheis Soleimani.  The women in their quest for achievement in foreign land are subject to a lonely life. Human identity and acceptance of loneliness in life and the relationship with others play a very effective role. Based on the findings of the research, the stress of loneliness is a result of the intensity of an individual relationship with his/her outer world.

Belgheis Soleimani is a contemporary woman writer.  Most of the characters in her stories are women. She is a writer who has a conviction and specific philosophical viewpoint towards life. She portrays apprehension as an impediment and obstruction for women in society.The women of her novels due to their pursuit of education as students, marriage, divorce, immigration, etc. are caught in various forms of loneliness. The female fictional characters of her, due to not having suitable environmental conditions become victims of various forms of loneliness and displacement. Overall, loneliness among individuals mostly reflects the various forms of loneliness of Yalom in the stories of Belgheis Soleimani. In most of the cases of loneliness among individuals in the novels of Soleimani, the characters face physical distances and are placed far away from their city, become migrants, tied in the knot of marriage, and strive for education, etc. which take them to the islands of loneliness.