hasan tofighi PhD. Student of Persian Language and Literature, Hakim Sabzevari University author Ali Tasnimi Department of Persian Language and Literature, Faculty of Literature and Humanitarian Science, Hakim Sabzevari University, Sabzevar, Iran author mehyar Alavi Moghaddam عضوهیات علمی گروه زبان وادبیات فارسی دانشگاه حکیم سبزواری author text article 2020 per A Study of Force schemas in Ghazals of Shams and its Relation with Rumi's Worldview    Abstract The "image schemas", which emphasize the role of experiential knowledge in the field of cognitive linguistics, are patterns of physical experiences that are formed in the mind and enable a person to comprehend complex and abstract concepts. This study examines the force schemes of "Compulsion", "Blockage", "Counterforce", "Diversion", "Removal of Restraint", "Enablement" and "Attraction" in Rumi's poetry, according to Johnson's view. It is argued that force schemas are linked to Rumi's worldview patterns. Research shows that the use of force schemas in mysticism is inevitable for the explanation of mystical concepts, and that understanding mysticism in the form of a movement with certain opposing obstacles attracting man is possible only through schemas. Schemas can also emphasize aspects of worldview, explain them to new schemas, and give an interpretation of the worldview of the poet and its significant aspects. The mystical worldview that needs schemas for self-explanation takes on schemas and selects certain kinds to explain their patterns. In Rumi's heavenward worldview, the existence of "vertical" schemas, "double stretch", "obstructive barrier", "obstacle of narrow passage" and "obstacle to vision", along Johnson's schemas approval confirm all of the above. Keywords:    Shiraz University 2008-8183 11 v. 4 no. 2020 1 24 https://jba.shirazu.ac.ir/article_5079_b77aa6ebe301bb4b0997934658cfdbf6.pdf dx.doi.org/10.22099/jba.2019.30785.3155 Abdoolah Hasanzadeh mirali Associate Professor of Persian Language and Literature, Semnan University author yadollah shokri Associate Professor of Persian Language and Literature, Semnan University author javad jafarinasab PhD Candidate in Persian Language and Literature, Semnan University author text article 2020 per Contemporary Sonnet Composers' Approach to Geographical Deviation.    Abstract The purpose of this paper is to study how geographical deviation is used as an artistic device in contemporary ghazal and what motivates contemporary poets to use regional dialects. The study includes an analysis of the approach of contemporary poets to the geographical form deviation, using words from dialects in the formal form of ghazal. The present study is a library research and the method of research is descriptive – analytical. It is concluded that, using dilaects and local expressions builds intimacy with the audience and giving local identity to the modern ghazal leading to defamiliarization and avoidance of standard language. Keywords: "Contemporary sonnet"," defamiliarization", "dialect", "form deviation" Shiraz University 2008-8183 11 v. 4 no. 2020 25 46 https://jba.shirazu.ac.ir/article_5108_48a1ba7242ab4ffd74f660469b62285f.pdf dx.doi.org/10.22099/jba.2019.30457.3116 Ebrahim Khodayar Associate Professor of Persian Language and Literature at Tarbiat Modares University (TMU), Tehran, Iran author text article 2020 per     Abstract Gulrukhsor (1947- ) is one of the most prominent representatives of nationalism in contemporary Tajik poetry. By experiencing cultural nationalism and by taking refuge in national and ethnic memories, she creates a deep sense of nostalgia in the addressee towards the past. This paper is an attempt to find out what definition of homeland she has expressed in her poetry from the time Soviet Union until now. Based on the tenets of Romanticism, the analysis of her poems showed that the poet has had three different and interrelated concepts of homeland in mind: geographical, historical and cultural. In her geographical homeland, she inclines towards the nation. This notion of homeland was an inseparable part of the cosmopolitan socialist framework of the Soviet Union, called the "great homeland". Regarding her historical concept of homeland as outlined in Tajik literature in the 1960-1970th, the poet has referred to the historical genesis of her ethnic group to rehabilitate it. Finally, in her cultural homeland, which is special to her mental-ideational system, the poet achieves a novel conception of homeland according to the teachings of Shahnameh not found in any other writing. Thus, all Persian –speakers come together in Shahnameh and become compatriot.     Shiraz University 2008-8183 11 v. 4 no. 2020 47 70 https://jba.shirazu.ac.ir/article_5080_5439c54b4186f18466f7f25cd85a2a19.pdf dx.doi.org/10.22099/jba.2019.30530.3123 behzad khajat Department of Persian Literature, Mahshahr Branch, Islamic Azad University, Mahshahr, Iran author text article 2020 per Identity Crisis in Postmodern Poetry of Iran     In this paper identity and the concept of identity crisis in psychology and sociology are discussed followed by Postmodernism, its characteristics and its entry into Iranian poetry in the 1970s. Sixteen indicators of this crisis of identity are mentioned and samples are presented. The past one or two decades of identity crisis is not necessarily negative; it could point to individual and cultural transformation leading to new experiences in Iranian poetry.  another to something  from   Keywords: Identity crisis, postmodernism, classical poetry, ,modern poetry, Postmodern poetry Shiraz University 2008-8183 11 v. 4 no. 2020 71 94 https://jba.shirazu.ac.ir/article_5092_88628c03101d94ecbb1f0f5f4c240fb5.pdf dx.doi.org/10.22099/jba.2019.30415.3111 Alireza Rayat --- author text article 2020 per     Espacementalisme and poetry of Islamic revolution are two contemporary currents in Persian poetry of the last five decades. Espacementalisme represents Avant- garde and lack of commitment in poetry while the revolutionary poetry believes in committed poetry. Much has been written on the rivalry of these two currents that have tried to prove the other wrong in the past years. Their discourses are against each other. From geographical point of view, Damghan plays an important role as it is the birthplace of  Yadollah Royaie (leader of Espacementalisme and avant-garde poets) and Ali Molaem Damghani who is famous as leader of poetry of  Islamic Revolution poetry current.  In this paper, Laclau and Mouffe's views are used to discuss the discourse of manifestos of these two currents.   Shiraz University 2008-8183 11 v. 4 no. 2020 95 112 https://jba.shirazu.ac.ir/article_5083_30fff76a309f0a5222cd2d5db050e310.pdf dx.doi.org/10.22099/jba.2018.30268.3093 mohammad javad sam khaniani university of gilan author ahmadnoor vahidi faculty member of Higher Educational Complex of Saravan author text article 2020 per     ABSTRACT   The secularist theory of power in post-Islamic Iran was more pronounced when the Sunni religion was prevalent putting efficacy and pragmatism at the heart of its political thought. Thus, during the rule of the Turks of Ghazni and Seljuk, who were adherent of Sunni religion, domination found a wider reflection. On the other hand, what Machiavelli, the great political thinker of the fifteenth and sixteenth centuries of Italy, considered important was to take practical decisions to prevent the destruction of Italy and Florence.  Therefore, Machiavelli also paid attention to efficacy and pragmatism as two pillars of political affairs. In this paper, political thought in Iran after Islam and its effects on the Persian culture and literature from the fourth to the seventh centuries are considered and then compared with Machiavelli's views on the subject. Consequently, the court poetry of that era could more than anything else, be a reflection of the dominant theory. Some of the aspects of this theory in court poetry include utmost power and intimidation, war policy, and the use of religion as a tool.   Shiraz University 2008-8183 11 v. 4 no. 2020 113 138 https://jba.shirazu.ac.ir/article_5184_8214120c302f4342118c8a09408a5547.pdf dx.doi.org/10.22099/jba.2018.27709.2863 esmail sadeghi Assistant Professor of Persian Language and Literature, Faculty of Literature and Humanities, Shahrekord University, Iran author amin banitalebi PhD student of Persian language and literature, Shahrekord University, Faculty of Literature and Humanities, Shahrekord, Iran author text article 2020 per One of the poets who have a special place in the poetry area of Persian literature, especially the poetry parts of ethics, is Ibn Yamin. The prominent features of this peasant poet are contradictions in attitude and writing, and with a profound view of his poetries in many of them one can find out the conflict in the worldview of poet, which is obviously expanded through the industry of contradiction throughout all his poetries and used this industry as the subject and purpose of the aesthetics and expression of the themes. In this paper, the main question is: How much and why Ibn Yamin used the contradiction of his thoughts and speeches, and what is the relationship between his contradiction and his contradictory? The results of the study showed that the poet in this approach was strongly influenced by the instability of personality and spirituality, especially in his temporal and spatial position, because in time perspective, the era of poet is considered as the age of the whole chaos in Iranian history and In terms of location, the poet's place of residence has been a tumultuous place; as a result of these internal and external disturbances, the poet's words were also influenced and seems confused, especially in his worldview, Including dealing with the world, determinism and fanaticism, rhetoric and knowledge of poetry, admonitions, meditations, criticizes and misunderstandings has been reflected and led to industry of contradiction be the most prolific poetry literary poet. Shiraz University 2008-8183 11 v. 4 no. 2020 139 164 https://jba.shirazu.ac.ir/article_5088_0adf68bed81e14a1dc3caeeb30e3313b.pdf dx.doi.org/10.22099/jba.2019.29378.3015 لیلا غلامپور آهنگرکلایی دانشجوی دکترای دانشگاه ازاد اسلامی واحد رود هن author Mahmoud Tavoosi Professor of department of Persian Language and Literature, Roodehen Branch, author Shahin Ojaq Alizade Assistant Professor of department of Persian Language and Literature, Roodehen Branch author text article 2020 per    Abstract   The term "self" is frequently used in Persian grammar and psychology.  Self  (khod), the word "you" (kheesh)  and the word "yourself" (Kheeshtan) are used as a common pronoun in Persian grammar; in the psychology of Jung self represents integrity. The word has a significant role in 'Attar's logic and can be analyzed based on Jung's psychological theories. In this paper, we analyze the process of conceptual development based on the "individuality process".  .It is argued there are two types of self—shadow and archetypal self that can be seen in two aspects of "body and soul." The shadow (the common pronoun) is transformed at the end like the thirty birds, since this feeling of unity  like Simorgh is aroused in human beings, thereby realizing reality (unity and integrity). The unity  is incomplete according to  'Attar and modern psychology because absolute perfection is realized only in God, and Simorgh is only part of the "self" (collective unconscious), not all of it. For both Jung and 'Attar, the goal of individuality process is not perfection. "Self" is the result of the unification of the thirty birds (self-conscious or shadow) and Simorgh (unconscious). Attar has recreated these philosophical-mystical concepts in theform of symbolic images in Manṭiq-uṭ-Ṭayr..       Shiraz University 2008-8183 11 v. 4 no. 2020 165 184 https://jba.shirazu.ac.ir/article_5082_d6259847dbf649f9b30690e59685105f.pdf dx.doi.org/10.22099/jba.2019.29211.2991 rooyintan farahmand vali Asr university of rafsenjan author text article 2020 per     Abstract: Color, the reflection of light on natural phenomena, has traditionally attracted human’s attention. The use of color in celebrations, ceremonies, mourning, movements, armies’ emblems and countries' flags is tangible and symbolic. Color has had a special place in all the visual arts and in poetry and literature, too. In Persian literature, poets who have had a close relationship with nature have always sought to convey their experiences to the reader by utilizing different colors. Qa’ani Shirazi, one of the prominent poets in the literary restoration style, has created colorful pictures in his poetry by employing colors, engaging the reader with natural elements. Qa’ani’s Divan, in terms of color, is like a painting with amazing colors. In the present paper, the frequency of color and the way it is used in Qa’ani’s divan is analyzed. Using metaphor, simile and creating pictures abounding with color, Qa’ani engages the reader with the range of his poetic pictures. Employing flowers, minerals, geographical names, Shahnameh’s stories and religious allusions has a significant role in Qa’ani’s visualization.   Shiraz University 2008-8183 11 v. 4 no. 2020 185 210 https://jba.shirazu.ac.ir/article_5067_491a18ad61b1b58a72543673a4eb21f6.pdf dx.doi.org/10.22099/jba.2018.30696.3144 gholamreza kafi shiraz univeristy author - - shiraz university- author text article 2020 per       Abstract Ruba'i as one of the short Persian poetic forms is composed with a specific meter and particular structure limiting the poet in these aspects.  However, innovations have prevailed. Fars contemporary poets have attempted to use innovations in structure and meaning. In this article, some of these innovations and novel techniques applied in ruba'i by Fars contemporary poets are discussed. Some of these techniques are as follows: blank verse, narrative writing, phonetic rhymes, and change of rhyme.       Shiraz University 2008-8183 11 v. 4 no. 2020 211 230 https://jba.shirazu.ac.ir/article_5077_1737b2f57e050cf551b5c599ee1bcb71.pdf dx.doi.org/10.22099/jba.2018.12633.1843 Arya Tabibzadeh Persian literature department, Tehran university author text article 2020 per     Abstract There is a line of poetry in one of the tales of Sa'di's Gulistan causing much discussion: “I am neither mounted on a camel, nor like a mule under a load. I am no lord of a vassal, neither the slave of any king. I have no concern about either the present or the past. I draw my breathe feely, and pass my life in comfort.”  (Gladwin, 1865: 183,184). In Persian classical prosody, the lines of each verse must have similar meters, but in this verse, there is no such similarity between the lines. In this paper, different emendations of this verse have been mentioned and various views on the meter of this verse have been discussed.  It is argued that the verse is composed according to the rules of Arabic prosody.     Shiraz University 2008-8183 11 v. 4 no. 2020 231 242 https://jba.shirazu.ac.ir/article_5484_8db6d278e99aff5c7606dd7542b5244b.pdf dx.doi.org/10.22099/jba.2019.34334.3462