mehrdad akbary gandomani the asistant professor of arak university author mehdi reza kamali baniani The post researcher of arak university author text article 2020 per One of the most prominent and most influential features of poets when composing poetry is the issue of association. therefore, the element of association in the construction or restoration of literary works, especially in order to get rid of the anxiety of the effects of the works of the predecessors, plays a very significant role, It provides the grounds for creative malnutrition. Considering that the flow of the fluid of mind and the element of association was one of the factors influencing Mowlana's mind, it was time to order the anecdotes; hence, in the forthcoming research, an anecdote about spiritual mathnavi has been studied. According to a research that was carried out, it was observed that the element of association in changing the essence of the subject of the story, the creation of sub-themes, the drawing of space without time and space, the lack of mention of the main character, the proximity of the poet from the angle of inner vision to the wise The whole, multi-dimensional character of the narrative, and ... have had a major impact, and by changing the new level, it has caused major changes in Rumi's stances relative to the precepts.in this research, after familiarizing with the element of association, its characteristics, the recognition of the theory of creative mischief and the effect of anxiety, the effect of association on the creative process of Mowlana's insanity in the story of Sheikh Ahmad Khidravieh and the child Halva Sale. Shiraz University 2008-8183 12 v. 1 no. 2020 1 28 https://jba.shirazu.ac.ir/article_5109_e9ddc1b2357210735e29c4638908e146.pdf dx.doi.org/10.22099/jba.2019.31688.3229 mohammad reza pashaei Persian Language and Literature Department, Farhangian University, Tehran, Iran author mehdi hamzepour Persian Language and Literature Department, Farhangian University, Tehran, Iran author text article 2020 per Nizam al-Din Astarabadi is a poet of the nineteenth and tenth centuries AH that his poetry has several dimensions. The prologue in changing the style of Iraqi to Hindi and the specificity of the Shiites literature has diminished his poetry in his covenant. . The court of justice was first published in 1391 by the library and documentation center of the Islamic council. The authors of the article, with a comparison of the text published by the documentation center of the Islamic council with the versions used, check the defects and errors of the sculptor in the correction process On a general look, the defects found can be expressed as follows: Including Incorrect readings, Incorrect selection of copies, Disregard for the rules of prosody, To understand the literary traditions of manuscript scribes, And not considering the meaning of poetry, Disregard the vertical axis of the text And the relationship between the previous and the next poems. In this way, we conclude that due to the abundance of these errors, There has been a lot of turmoil in the printed version of the House And is in no way a reliable version. It cannot be accepted as a scientific justification, therefore the reinstatement of this court is indisputable Shiraz University 2008-8183 12 v. 1 no. 2020 29 61 https://jba.shirazu.ac.ir/article_5185_2a96fe47eec1660bd7d294c0f47073bf.pdf dx.doi.org/10.22099/jba.2019.29972.3066 gholamreza heidary عضو هیات علمی author text article 2020 per 'A' or 'Alif' the first letter of Persian alphabet, is a prominent vowel in Farsi language. It is the first letter of Abjad numeral system which represents number one in this system. Alif signifies the Taurus astrological sign. In mystical, philosophical, and rhetorical literature, Alif represents unique God, Holy Spirit, God's mercy; Adam's the father, abstract sphere, solitude, and the single mystery and etc. Alif has fallen in love with its stature. Since Alif has accent-like sign overhead, it is rebellious. Despite having tongue, it is dumb and silent. It is regarded as one of the poorest in terms of wealth among letters. It symbolizes poverty, abjection, destitution, vacancy, pauperism, beggary, inexistence, absence, loss, and self-denial. It also suggests nakedness, nudity, embarrassment, self-evidence, preparedness, distress and confusion and adornment.. Alif is motionless and stagnant. Its creation begins with points and dots. All letters and numbers then are founded upon this letter. Alif is the first letter of creation. It also indicates minuteness, brevity and tininess. Alif is the most common simile in Persian literature and the poetry's and prose's images or contents used in Persian literature are described. It was compared to needles, thorn, moon crescent, sticks, pens and plumes, fingers, arrows, bolts, cedars, gallows and scaffolds, newly grown whiskers or beard, half or full moon, and etc. In this article, we try to study the literary, artistic, and video applications of letter Alif in top mystic poets' poetry like Sanaie, Attar, Molavi, Shah Nematollah Vali Shiraz University 2008-8183 12 v. 1 no. 2020 62 86 https://jba.shirazu.ac.ir/article_5149_569cd8713babf1d2f53011fb1c91cc90.pdf dx.doi.org/10.22099/jba.2019.29506.3029 Roghayeh Shabani Persian Literature p.h.d. ,univerrsity alzahra,Tehran,Iran. author Hossayn Faqihi -professor Alzahra University- Iran – university Alzahra- Faculty of Persian language and Literature author text article 2020 per Reasoning is a valuable science that is used in field of human knowledge such as philosophy, theology, ethics, religion, education, etc. Reasoning originates from Plato’s and Aristotle’s discussions upon application of arts and poetry. Persian poets’ conception of reasoning, specifically Nizami’s, who believed in semantic overlap between poetry, knowledge and wisdom, is closer to Aristotle’s views. Unlike Plato who deemed poetry as an outgrowth of fascination and incognizance in poets and somehow linked poetic inspiration to insanity, Aristotle’s maintained that poets enjoyed sparkling wit and could aid in purification of human soul by pursuing ideal reality. Therefore, the work of the poet is rooted in a kind of logic and wisdom that covers every kind of reasoning. Nizami who was cognizant of the sciences of his time such as logic, philosophy, theology, medicine and astronomy, always appreciated the fruits of wisdom and reason. Nizami’s logical insights have led him towards some forms of reasoning such as analogy, induction, and allegory. He has benefitted from these forms of reasoning on literary, intellectual, social, educational, allegorical, theological, paraphrastic, narrative, religious, geographic and historical grounds to substantiate and clarify his poems. In-depth study of the lyric work “Khosrow Shirin” and the didactic work “The Treasury of Mysteries” indicates that the oft-used form of reasoning is analogy on mystical, educational, medical, mythical, and hermeneutic grounds in the first form. Next comes allegory and finally induction which is seldom seen. Shiraz University 2008-8183 12 v. 1 no. 2020 87 111 https://jba.shirazu.ac.ir/article_5111_d534f54a9573c1aebeac8f984aac8ec3.pdf dx.doi.org/10.22099/jba.2019.31963.3259 Manijeh Abdolahi The medical sciences University author text article 2020 per One of the oldest and most widespread motifs of the romantic stories of the world is the love of the stepmother to her husband's son. In Persian literature, besides the most well-known Iranian story, Siavash and Soudabeh in Shahnama (Book of the Kings), the story of Joseph and Zoleikha, rooted in Quran, gave rise to stories and poems, the most artistic one being Mohabatnameh, in the Fifth Awrang of Haft Awrang ( Seven Thrones) , composed by Abdurrahman Jami. There are similar motifs in the narrative works of other nations, namely that found in the Far East, in the Tibetan literature, i.e. the story of Monk Virukana and Queen Shepungza. Generally speaking, the study shows that these stories mainly focus on the principle of sin-salvation clash, and that both main characters (the unfaithful woman and the pious man), have to go through four stages: sin, Punishment, free from sin, and salvation, in order to dispose of sin and attain salvation. Drawing on the mythical analysis, the study has also shown that the sinful woman in these narratives represents ancient and obsolete beliefs whereas the pious man is the manifestation of the new order in societies, launching a new discipline. This old- new confrontation is manifested in the guise of sin-salvation clash in these stories. Shiraz University 2008-8183 12 v. 1 no. 2020 112 121 https://jba.shirazu.ac.ir/article_5105_992d3b06bb8c9fddac8628e7bd7b61a1.pdf dx.doi.org/10.22099/jba.2019.31364.3194 farzad ghaemi Ferdowsi University of Mashhad author text article 2020 per In the research of Iranian and Western scholars to this day, the old part of Burzō-nāma is initially attributed to Atāii-e Rāzi, and then to a poet named Shams-oddin Mohammad-e Kōsaj, whose name remains only in a manuscript that is the oldest manuscript. The lack of other documents about the recent name has led some researchers to assume the author of the work as anonymous. In this essay, by finding other evidence in the manuscripts of the text, it has first been proven that this work has been compiled by a poet named Kōseh or Kōsaj; Secondly, it is clear that, until the 12th century, some Shāh-nāma scribes were aware of the fact that The incorporative story of Burzō in the Shāh-nāma manuscripts has been compiled by him. Also introducing another manuscript of Burzō’s story, three years after the manuscript of Cambridge (manuscript of India) and comparing three older manuscripts of the Burzō-nāma, the probable time for the compilation of this poem is estimated at the seventh century. Meanwhile, it is clear that the Cambridge manuscript is not the best available manuscript of the Burzō-nāma and is far from the origin manuscript. Shiraz University 2008-8183 12 v. 1 no. 2020 122 150 https://jba.shirazu.ac.ir/article_5102_74e8f5db64326c096db9b846a06d5d99.pdf dx.doi.org/10.22099/jba.2019.31543.3217 rahman qorbani university of isfahan author text article 2020 per There are a lot of poems in Persian language Their poetry has not yet been determined. One of these cases is the famous ode "Om-al-Kavaeb". So far, several studies have been carried out on this topic, and Manouchehri Damghani, Amir Mo'azi, Borhani, Hasan Motekallam Kashi and Nasrollah Monshi have been introduced as poets of this ode. In this study, by studying the reasons used in previous studies and referring to a new document, introduced the true poet of this ode. The author's citation is an important and valuable manuscript, "Tazkarah al-Shoa'ra", known as "Ontology No. 900". The collector/ author of this Ontology, Introduces Simkesh –e- Samarqandi's as a poet of this poem. Contrary to previous poets, several reasons confirm this claim and assignment. In this paper, firstly, the authenticity of the assignment this ode to Manouchehri, Amir Mo'azi, Borhani and Hasan Motekallam is analyzed and rejected. Then, with a focusing on research of Sorori which has more authenticity, challenged her four In assigning a poem to Nasrallah Monshi. In the end, mention three other reasons for Confirm this claim. Shiraz University 2008-8183 12 v. 1 no. 2020 150 175 https://jba.shirazu.ac.ir/article_5096_2de0bd273939a5981a81efbaaffec9c5.pdf dx.doi.org/10.22099/jba.2019.29869.3055 farhad karami Department of Literature, University of Arak author hasan heydari Arak University author Ali sabaghi Arak University author mohsen zolfaghary full professor in Arak University author text article 2020 per The revolutionary poetry is a product of the strife amongst various discourses which had suffused the Iranian society’s literary arena from the late 40s till late 50s. In the present research, the topic of the struggle in between secular literary discourse and Islamic literary discourse, has been delved into. In order to conduct this study, discourse analysis Theory (from the standpoint of Ernesto Laclau and Chantal Mouffe) has been applied. While Foucault discourse opinions have also been used. The strife between the two mentioned discourses has mainly been over their meaning and their attempts to reform ate the concepts of revolutionary poetry. Historicity and phenomenology of literary have not been dropped out either. the process of conceptual formation named revolutionary poetry has been analyzed through there conflict. According to this study, the poetry of the Islamic Revolution resulted of some epistemological breakdown (in Foucault words) of the previously stabilized process with its find exclusion. As a result of this struggle, the revolutionary poetry adopted a new formulation with the hegemonic intervention of the new political institution, having emerged from the revolution. This different current brought about a type of political poetry, called the Islamic Revolution's poesy. Shiraz University 2008-8183 12 v. 1 no. 2020 176 204 https://jba.shirazu.ac.ir/article_5101_00c81e246d4dff6da4590c6767b26c91.pdf dx.doi.org/10.22099/jba.2019.30927.3163 علی محمد محمودی دانشگاه اصفهان author eshagh toghyani isfahan univercity author text article 2020 per It is not exorbitant that is one claims that as far as a mortal human being is present, death revisiting is with him. One of the important representations of thinking of death is in poetry and novels. From Epic of Gilgamesh to philosophical and literary works of the contemporary age, this attitude has been represented in one way or another. Persian poetry is also considered this approach. The type of the approach of ancient and contemporary poets to the concept of death is different. Ancient Persian poets combined death with a philosophical and mystical attitude, while the death revisiting contemporary poetry is a different issue. The most approaches to death in the contemporary poetry and consequently contemporary Ghazal are "fearing death", "demanding death", "praising death" and a bit, "revisiting death"; some of the poems are like slogans. Contemporary poetry depends the themes originating from lyrical poetry and Romanticism and sometimes are like the ideas of philosophers and considers issue such as nihilism and sadness and a little, "death awareness" is considered. While in the ancient poetry, the valuable issue of death depends a view originating from the sense of life. Ghazals of Freydoun Tavalloli, Hussein Monzavi, Manochehr Neistani, Fazel nazari and Mohammad Said Mirzaei are filled with the issue of death and death demanding Shiraz University 2008-8183 12 v. 1 no. 2020 205 233 https://jba.shirazu.ac.ir/article_5107_d4aa353274a25e2c26eac08f545983cc.pdf dx.doi.org/10.22099/jba.2019.30378.3106 Mahdi Najafi Najafabad Branch author Eshagh Toghiani najaf Abad University author mahboubeh khorasani associate Prof. Persian Language and Literature, Najafabad Branch, Islamic Azad University, Najafabad, Iran. author text article 2020 per یکی از موفقیت‌های هر شاعری در سرودن، توجه وی به شبکۀ ارتباطی عناصر مادی و معنوی موجود در شعرش است که ساختار و نظام یک قالب شعری را تشکیل می‌دهد. ارتباط واژگانی و شیوه چینش آنها، انتخاب وزن مناسب با عنایت به درونمایۀ حاکم بر آن، انواع موسیقی در شعر و نظایر آن این شبکه را می‌سازد. این مقاله به میزان هماهنگی درونمایه و بحور به کار رفته در نوحه‌ها و مرثیه‌های یغمای جندقی -شاعر قرن سیزدهم هجری- پرداخته است. وی نخستین شاعری است که بخشی از دیوانش به نوحه اختصاص یافته است. می‌توان گفت که وی توانسته است خرده‌ژانری را با عنوان نوحه‌سرایی در شعر فارسی ابداع کند. یغما در این نوع شعری، بین وزن و محتوا ارتباطی تنگاتنگ و ناگسستنی برقرار کرده است. این تحقیق با روش تحلیل محتوای کیفی از نوع مضمونی بر روی هفتاد و شش مرثیه و نوحۀ شاعر انجام شده است، انواع اوزان از جمله وزن خیزابی و جویباری که شاعر به کار گرفته، با مضمون ارائه شده همخوانی دارد و نیز رزانت، سَبُکی، نظم هجاها و طول مصرع‌ها، ارکان عروضی از حیث رکن‌بندی هجاها، وجود تکرار و تنوع ارکان بحرهای عروضی در مراثی و نوحه‌ها در نظر گرفته شده است. همچنین اشعار به ترتیب بسامد در بحرهای رمل، هزج ، رجز، مضارع، متقارب و سریع سروده شده‌اند؛ از این میان بحرهای هزج و رمل که سنگین‌ترین اوزان محسوب می‌شوند و برای بیان اندوه و متأثرکردن مخاطب مناسب هستند، بالاترین بسامد را دارند. Shiraz University 2008-8183 12 v. 1 no. 2020 234 261 https://jba.shirazu.ac.ir/article_5106_d9180d00ee84a97b3aeb0f17c0def7cb.pdf dx.doi.org/10.22099/jba.2019.31458.3205 Mehrdad Nosrati PhD of Persian literature & lecturer of Persian literature department of Yazd university author text article 2020 per There are numerous examples in the world literature history in which the authors have compulsively kept away of direct expression or clarification of the subject and have even used the aesthetic devices for precaution and encryption. On the contrary to censorship which is usually because of political, cultural and ideological affairs directly obliged by the power to the authors and his writings, Self-censorship is due to personal, social, ideological and even political observations of the author himself. Writers and poets sometimes refer to the phenomenon of self-censorship textually or extra-textually and the process of the phenomenon. In this survey, after referring to the exact meaning of literary self-censorship, and its bases and causes, agreements or disagreements about it, self-motivation or non-self-motivation of it, the process of Panopton & Panopticism in literary criticism, we have tried to this question that how the literary auto-criticism method can help in studying self-censorship. Yet, the relationship among self-censorship and Alias, Topic, date, selection for printing, structure, language, Samizdat, hope and fate of the works of art are treated as well. Shiraz University 2008-8183 12 v. 1 no. 2020 262 290 https://jba.shirazu.ac.ir/article_5098_fd227e370304d5e40ecb09ca19977f7e.pdf dx.doi.org/10.22099/jba.2019.29697.3046 amir soltanmohamadi unes author text article 2020 per Shahnameh is a unique text that has been challenged by scholars in the field of Shahnameh due to the fact that the text and vocabulary of the text are old, as well as its rare words. In the part of Shahnameh, which is related to Zal's performance against Manuchehr, a bit has come in this sense. Zal threw a beam when the horse was running, and that shot struck the lion's tree and penetrated it. Of course, in some of Shahnameh's books, instead of the lactating tree, the lion's sword has come. Those who brought this term and the commentators of Ferdowsi's poetry who took milk in the sense of a wild animal have not been aware of one point. The point is that the ancient Persian poets of livestock did not rhymes in the meaning of the wildlife, because their pronunciation varies in the word "ya".Nardshir is here in the sense of lumbering trees that comes out of gum and sap. The similarity of the milk in the meaning of the jungle animal and drinking liquid milk caused this mistake in the versions. In the story of Siavash, the word Nordshir is distorted to the green tree. Shiraz University 2008-8183 12 v. 1 no. 2020 291 301 https://jba.shirazu.ac.ir/article_5499_8ab66e90197b8a481ee3969919c64495.pdf dx.doi.org/10.22099/jba.2019.34419.3469