Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 06 20 A Study of some postmodern parameters in the poems of Manoochehr Atashi A Study of some postmodern parameters in the poems of Manoochehr Atashi 1 24 3538 10.22099/jba.2016.3538 FA Zahra Ostadzadeh Leila Rezaei ABAS JAHEDJAH Journal Article 2015 05 13 Manūchihr Ātashī, the contemporary poet who passed through Nimai' poetry and turned into modernist experimentations, registered himself as a modern contemporary Persian poet. Nevertheless, an examination of his poetry—particularly his last collection of poems, Return into Stone—reveals that this poet has adopted postmodern features in some of his historical narrative poems and has created metafictional historiographies. In this paper, the expanse of history in Ātashī's poetry is highlighted, then the main features of metafictional historiography, taken from the theories of Linda Hutcheon, Brian McHale, and Hayden White, are delineated; eleven poems are extracted from Return into Stone and analyzed according to the five parameters of metafictional historiography. Postmodern parameters can be listed as: anachronism, critique of rationalism, denial of history as a goal-oriented and purposeful movement, challenging historical truth, satire and irony. The findings of the research reveal Ātashī's postmodern approach and the efforts he put into the creation of metafictional historiography within the genre of poetry. Keywords: Manūchihr Ātashī, Postmodernism, Metafictional Historiography, History, Narrative Manūchihr Ātashī, the contemporary poet who passed through Nimai' poetry and turned into modernist experimentations, registered himself as a modern contemporary Persian poet. Nevertheless, an examination of his poetry—particularly his last collection of poems, Return into Stone—reveals that this poet has adopted postmodern features in some of his historical narrative poems and has created metafictional historiographies. In this paper, the expanse of history in Ātashī's poetry is highlighted, then the main features of metafictional historiography, taken from the theories of Linda Hutcheon, Brian McHale, and Hayden White, are delineated; eleven poems are extracted from Return into Stone and analyzed according to the five parameters of metafictional historiography. Postmodern parameters can be listed as: anachronism, critique of rationalism, denial of history as a goal-oriented and purposeful movement, challenging historical truth, satire and irony. The findings of the research reveal Ātashī's postmodern approach and the efforts he put into the creation of metafictional historiography within the genre of poetry. Keywords: Manūchihr Ātashī, Postmodernism, Metafictional Historiography, History, Narrative

https://jba.shirazu.ac.ir/article_3538_20dab3c98e12fbda037a6410e574ecf1.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 kissing the bell in Khaghani's Tarsaeiyeh kissing the bell in Khaghani's Tarsaeiyeh 25 40 3143 10.22099/jba.2016.3143 FA Nasrolah Emami univercity chamran of ahwaz Bahman Rezaei Journal Article 2014 04 13 What is being studied in this survey is the following line from Khāghānī's Ode of "Tarsā'īyah": "Due to this oppression, I go kiss the bell, and tie Zunnār (the Christian belt)." In recent years, some interpreters have hesitated to record the word "kiss(Būsam)" in the line cited above, and believe that this word is a script error and a distortion of the word "Nūsham" (the shortened form of "Nīyūshīdan" which means "to listen") that has been changed, in the course of history, into "Būsam." The objective of this research is to carry out a semantic and functional analysis of the word "Nāghūs" which means "Bell" and to examine the history of the word and its various types in Persian verse in order to come up with the correct meaning of "Nāghūs" and "Nāghūs Kissing." Furthermore, dictionaries and books of Persian poetry have been consulted in order to discover the roots of kissing Nāghūs and listening to Nāghūs and thereby to eliminate the ambiguity surrounding the issue. The findings of this research reveal that Nāghūs, apart from the meaning it has today, had been used differently by oriental Christians in the past; they had two pieces of wood, one was Nāghūs and the other a short bat which they called "Vabīl"; at the outset of prayer, they were knocked against each other as an invocation to worship. According to various poetic evidences, kissing holy objects and religious symbols has been an ordinary practice among Christians. Keywords: Khāghānī ,Ode,Tarsā'īyah,Kissing the Bell, Script Error What is being studied in this survey is the following line from Khāghānī's Ode of "Tarsā'īyah": "Due to this oppression, I go kiss the bell, and tie Zunnār (the Christian belt)." In recent years, some interpreters have hesitated to record the word "kiss(Būsam)" in the line cited above, and believe that this word is a script error and a distortion of the word "Nūsham" (the shortened form of "Nīyūshīdan" which means "to listen") that has been changed, in the course of history, into "Būsam." The objective of this research is to carry out a semantic and functional analysis of the word "Nāghūs" which means "Bell" and to examine the history of the word and its various types in Persian verse in order to come up with the correct meaning of "Nāghūs" and "Nāghūs Kissing." Furthermore, dictionaries and books of Persian poetry have been consulted in order to discover the roots of kissing Nāghūs and listening to Nāghūs and thereby to eliminate the ambiguity surrounding the issue. The findings of this research reveal that Nāghūs, apart from the meaning it has today, had been used differently by oriental Christians in the past; they had two pieces of wood, one was Nāghūs and the other a short bat which they called "Vabīl"; at the outset of prayer, they were knocked against each other as an invocation to worship. According to various poetic evidences, kissing holy objects and religious symbols has been an ordinary practice among Christians. Keywords: Khāghānī ,Ode,Tarsā'īyah,Kissing the Bell, Script Error

https://jba.shirazu.ac.ir/article_3143_00cbab4bf9bf751a047f4d8f5dd5f029.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Shath (paradoxes inspires) types and manner of expression in the Mathnavi Shath (paradoxes inspires) types and manner of expression in the Mathnavi 41 62 3145 10.22099/jba.2016.3145 FA Naser Jaberi Journal Article 2014 10 03 This study examines the concept of Shat'h in Maṣnavī. Utilizing the descriptive-analytical method and drawing on the relevant literature, including but not limited to Sharh al-Shathīyyāt and Taẕkirat al-Awlīyā, the researchers have tried to establish the boundaries of Shat'h, and come up with some examples of this concept. Next, Maṣnavī has been explored for its uses of Shat'h, and the examples extracted from Maṣnavī have been juxtaposed with those found in Rūzbahān and Attār. Moreover, the relationships among the diverse range of topics to which Shat'h is applied and their mystical underpinnings are illustrated using a pie chart. The chart shows that the connecting pattern in this diversity is the notion of 'fanā and vesāl', which is further divisible to minor concepts such as the incentive for reaching, the path to reaching, impediments to reaching, and the gains of reaching. Furthermore, this study reveals that Rumi, in his Maṣnavī, has employed Shat'h in all its manifestations and topics. However, he has tactfully tailored such various uses to the needs of his audience in order to render them more accessible and welcoming. We also postulate that Shat'h is more than a mere linguistic archetype and that a good number of Shat'hs are behavioral, indicative of social deconstructions or breaking social norms. Keywords: Rumi, Maṣnavī, Shaṭ'ḥ, Rūzbahān. This study examines the concept of Shat'h in Maṣnavī. Utilizing the descriptive-analytical method and drawing on the relevant literature, including but not limited to Sharh al-Shathīyyāt and Taẕkirat al-Awlīyā, the researchers have tried to establish the boundaries of Shat'h, and come up with some examples of this concept. Next, Maṣnavī has been explored for its uses of Shat'h, and the examples extracted from Maṣnavī have been juxtaposed with those found in Rūzbahān and Attār. Moreover, the relationships among the diverse range of topics to which Shat'h is applied and their mystical underpinnings are illustrated using a pie chart. The chart shows that the connecting pattern in this diversity is the notion of 'fanā and vesāl', which is further divisible to minor concepts such as the incentive for reaching, the path to reaching, impediments to reaching, and the gains of reaching. Furthermore, this study reveals that Rumi, in his Maṣnavī, has employed Shat'h in all its manifestations and topics. However, he has tactfully tailored such various uses to the needs of his audience in order to render them more accessible and welcoming. We also postulate that Shat'h is more than a mere linguistic archetype and that a good number of Shat'hs are behavioral, indicative of social deconstructions or breaking social norms. Keywords: Rumi, Maṣnavī, Shaṭ'ḥ, Rūzbahān.

https://jba.shirazu.ac.ir/article_3145_5ffd09730db88b03e503250f6df42733.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 06 15 A Comparative & Statistical Analysis in the earliest poetry of Iranians( Gathas) A Comparative & Statistical Analysis in the earliest poetry of Iranians( Gathas) 63 86 3279 10.22099/jba.2016.3279 FA Elahe Khanian Journal Article 2014 11 04 Invocation as the easiest way of striking a dialogue between man and God, has been one of the stabilizing foundations and components of all religions throughout history. Studying the prayers and worships of different religions reveals to us the intellectual and religious systems, as well as the social and individual conditions and requirements of believers in the course of history. This paper adopts a descriptive-statistical approach in examining the prayers in Gathas, the oldest surviving written work of the Persians. Gathas is a verse collection, which is, according to most of contemporary scholars the only part that registers Zarathustra's speech, while other parts of the Avistā are believed to have been added in later periods. The most frequently repeated demands in Gathas are: promoting the truth and uprooting falsehood, liberation of the land and its animals from oppression, anger and cruelty, having peaceful and cheerful lives and a prosperous society, thereby to achieve the eternal and divine territory of Ahūrā Mazdā (paradise), as well as eternal rewards and forgiveness on the Day of Resurrection. A review of the prayers' themes in Gathas reveals Zarathustra's addressees to be Mazdā, Ahūrā, shāvahīshtā(Urdībihisht), Bahman, Sipandārmaẕ, Ahūrā Mazdā and Khshatra-vayrīya(Shahrīvar) respectively, and he uses the plural pronoun in many cases. Zarathustra's mode of expression indicates that although the names he addresses are single beings, "Amshāspandān" is plural and refers to all manifestations and qualities of the Unitary God. This statistical research indicates that spiritual demands are two-thirds more likely to occur in Gathas than material demands, and that Zarathustra prays for others as much as he prays for himself. Keywords: Zarathustra, Gathas, AhūrāMazdā, Invocation, Ancient Persia Invocation as the easiest way of striking a dialogue between man and God, has been one of the stabilizing foundations and components of all religions throughout history. Studying the prayers and worships of different religions reveals to us the intellectual and religious systems, as well as the social and individual conditions and requirements of believers in the course of history. This paper adopts a descriptive-statistical approach in examining the prayers in Gathas, the oldest surviving written work of the Persians. Gathas is a verse collection, which is, according to most of contemporary scholars the only part that registers Zarathustra's speech, while other parts of the Avistā are believed to have been added in later periods. The most frequently repeated demands in Gathas are: promoting the truth and uprooting falsehood, liberation of the land and its animals from oppression, anger and cruelty, having peaceful and cheerful lives and a prosperous society, thereby to achieve the eternal and divine territory of Ahūrā Mazdā (paradise), as well as eternal rewards and forgiveness on the Day of Resurrection. A review of the prayers' themes in Gathas reveals Zarathustra's addressees to be Mazdā, Ahūrā, shāvahīshtā(Urdībihisht), Bahman, Sipandārmaẕ, Ahūrā Mazdā and Khshatra-vayrīya(Shahrīvar) respectively, and he uses the plural pronoun in many cases. Zarathustra's mode of expression indicates that although the names he addresses are single beings, "Amshāspandān" is plural and refers to all manifestations and qualities of the Unitary God. This statistical research indicates that spiritual demands are two-thirds more likely to occur in Gathas than material demands, and that Zarathustra prays for others as much as he prays for himself. Keywords: Zarathustra, Gathas, AhūrāMazdā, Invocation, Ancient Persia

https://jba.shirazu.ac.ir/article_3279_6ea827eb90e1a29919ac82b16ecc8123.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Black similes analysis of composition by Mehdi Akhavan sales Black similes analysis of composition by Mehdi Akhavan sales 87 110 3278 10.22099/jba.2016.3278 FA Reza Khalaj Journal Article 2015 03 07 The 1953 Iranian coup d'état, or the 28 Mordad coup, was one of the most influential events in Iran's history. The consequences of it for committed intellectuals were frustration, despair and turning to opium and wine which led to the creation of Black Poetry manifested in such poetic movements as Realism, Black Romanticism and Social Symbolism. Mahdī Akhavān Sālis is the most prominent figure of the movement. This research is an exploration and analysis of black similes which are considered to be the most frequently used figure of speech in the poetry of Akhavān. Efforts have been made, in this research, to create a link between the context that formed and informed the poet's fancy, and his mentality, language, and poetic perspective. The findings of the research reveal that Akhavān, by creating such unprecedented similes, tacitly presented bitter images of the social condition of Iranian society at that time. Not only could he give voice to his protests against the social situation of his day, but managed to evade the censorship of Pahlavi government. Keywords: Akhavān Sālis, Black Similes, Style, The 28 Mordad Coup The 1953 Iranian coup d'état, or the 28 Mordad coup, was one of the most influential events in Iran's history. The consequences of it for committed intellectuals were frustration, despair and turning to opium and wine which led to the creation of Black Poetry manifested in such poetic movements as Realism, Black Romanticism and Social Symbolism. Mahdī Akhavān Sālis is the most prominent figure of the movement. This research is an exploration and analysis of black similes which are considered to be the most frequently used figure of speech in the poetry of Akhavān. Efforts have been made, in this research, to create a link between the context that formed and informed the poet's fancy, and his mentality, language, and poetic perspective. The findings of the research reveal that Akhavān, by creating such unprecedented similes, tacitly presented bitter images of the social condition of Iranian society at that time. Not only could he give voice to his protests against the social situation of his day, but managed to evade the censorship of Pahlavi government. Keywords: Akhavān Sālis, Black Similes, Style, The 28 Mordad Coup

https://jba.shirazu.ac.ir/article_3278_70dfbe137d27627f13f3ef7d47409137.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Critisim of poetry and poets in Shafie Kadkani,s poems Critisim of poetry and poets in Shafie Kadkani,s poems 111 130 3170 10.22099/jba.2016.3170 FA Journal Article 2015 02 05 Criticism leveled at poets by other poets has been rather common in Persian poetry. Poets, since antiquity, have criticized other poets or their poems with different styles and with positive or negative intentions. After a review of Shafī'ī Kadkanī's poems, one can trace such critical commentaries about other poets in his poetry. This research is an effort to locate the specific position of Shafī'ī Kadkanī's critical poems in the body of verse produced in this genre so far, and to discover the similarities and differences between Shafī'ī's works and those of others within this genre. The findings of this research reveal that Shafī'ī's critical poems can be categorized in two classes: those considered to be content based, that is, social and ideological criticisms often traceable in the literature of 40s and 50s, and those reckoned to be aesthetic and structuralist criticisms more frequently produced after the revolution. In terms of expression, such works can be put in two groups: direct criticism and indirect criticism. In the former, idealist and liberal-minded poets are praised, and versifiers, panegyrists, conservatives, detached, radical and quasi-modern poets are censured. In the latter, poetic delineation of the concept and quality of poetry and its humane, social and aesthetic functions are underscored. Furthermore, Shafī'ī's critical commentaries, unlike his predecessors and his contemporaries, are rooted in cultural beliefs, human emotions, and artistic concerns. Keywords: Aesthetic, Poem, Shafī'ī Kadkanī, Critisim, Socialist, Structuralism Criticism leveled at poets by other poets has been rather common in Persian poetry. Poets, since antiquity, have criticized other poets or their poems with different styles and with positive or negative intentions. After a review of Shafī'ī Kadkanī's poems, one can trace such critical commentaries about other poets in his poetry. This research is an effort to locate the specific position of Shafī'ī Kadkanī's critical poems in the body of verse produced in this genre so far, and to discover the similarities and differences between Shafī'ī's works and those of others within this genre. The findings of this research reveal that Shafī'ī's critical poems can be categorized in two classes: those considered to be content based, that is, social and ideological criticisms often traceable in the literature of 40s and 50s, and those reckoned to be aesthetic and structuralist criticisms more frequently produced after the revolution. In terms of expression, such works can be put in two groups: direct criticism and indirect criticism. In the former, idealist and liberal-minded poets are praised, and versifiers, panegyrists, conservatives, detached, radical and quasi-modern poets are censured. In the latter, poetic delineation of the concept and quality of poetry and its humane, social and aesthetic functions are underscored. Furthermore, Shafī'ī's critical commentaries, unlike his predecessors and his contemporaries, are rooted in cultural beliefs, human emotions, and artistic concerns. Keywords: Aesthetic, Poem, Shafī'ī Kadkanī, Critisim, Socialist, Structuralism

https://jba.shirazu.ac.ir/article_3170_dd7d2ff3027dbbd04ef687849fa3b2f5.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Reflection of "Vāyu" 's function among national epic poems Reflection of "Vāyu" 's function among national epic poems 131 156 3386 10.22099/jba.2016.3386 FA Zahra Zahra Riahizamin Associate professor of Persian language & literature Department of Shiraz University, Faculty of Literature and Humanities Tahereh Foadi Shiraz university -Faculty of Literature and Humanities Journal Article 2014 12 19 Vāyu is one of the most mysterious Indo-Iranian gods that despite other gods of the Mazdāyasnā religion, conceptualizes the dual confrontation of life and death. Mention has been made of Vāyu in Rig-Veda, Avesta and Pahlavi texts. By examining the reflection of the divine and devilish faces of it within the aforementioned texts and later works such as national epics, one can understand the endurabilityof this ancient god in the form of ritual-mythical patterns of prayer, combat and death. This research is descriptive-analytical. By investigating library sources and by finding Vāyu's function in religious texts and its reflection in epic poems, the researchers argue that despite the presence of the simple word of "wind" in epics, one must pay a closer attention to the deeper semantic layers of the word and what lies in its mythical-semantic roots. After an examination of various evidences in epic poems, one comes to the conclusion that wind is not merely a representative of a natural phenomenon; in fact, Vāyu has kept its mythical function among epic works especially Shāhnāmah; and has manifested itself through three main roles: 1-The god of war and the multifunctional god of warriors (accompanying heroes in their battles, helping the army, assisting heroes to cross the sea, overthrowing flags and supporting the king), 2- The messenger of death. 3- Tīsgtar's assistant in doing such acts as wizardry with the wind and putting heroes into test by exposing them to wind and coldness. Keywords: God of war, Wind, Praying, National Epic Poems, Vāyu. Vāyu is one of the most mysterious Indo-Iranian gods that despite other gods of the Mazdāyasnā religion, conceptualizes the dual confrontation of life and death. Mention has been made of Vāyu in Rig-Veda, Avesta and Pahlavi texts. By examining the reflection of the divine and devilish faces of it within the aforementioned texts and later works such as national epics, one can understand the endurabilityof this ancient god in the form of ritual-mythical patterns of prayer, combat and death. This research is descriptive-analytical. By investigating library sources and by finding Vāyu's function in religious texts and its reflection in epic poems, the researchers argue that despite the presence of the simple word of "wind" in epics, one must pay a closer attention to the deeper semantic layers of the word and what lies in its mythical-semantic roots. After an examination of various evidences in epic poems, one comes to the conclusion that wind is not merely a representative of a natural phenomenon; in fact, Vāyu has kept its mythical function among epic works especially Shāhnāmah; and has manifested itself through three main roles: 1-The god of war and the multifunctional god of warriors (accompanying heroes in their battles, helping the army, assisting heroes to cross the sea, overthrowing flags and supporting the king), 2- The messenger of death. 3- Tīsgtar's assistant in doing such acts as wizardry with the wind and putting heroes into test by exposing them to wind and coldness. Keywords: God of war, Wind, Praying, National Epic Poems, Vāyu.

https://jba.shirazu.ac.ir/article_3386_79702d269a5a420a6a39f57290552a35.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Intertextuality relationships of kasrai's "Arashe kamangir" (archer arash) poem and Akhavan sales "khane hashtom" (eighth adventure) Intertextuality relationships of kasrai's "Arashe kamangir" (archer arash) poem and Akhavan sales "khane hashtom" (eighth adventure) 157 180 3277 10.22099/jba.2016.3277 FA Alireza Ghasemi PHD student of Persian language and literature- University Of Guilan Ahmad Razi professor of Persian language and literature- University Of Guilan Journal Article 2014 02 26 Intertextuality is one of the most important conceptions in contemporary literary theory, spotlit in our country due to Iranian critics' preference for influence studies. By using the descriptive-analytical method, drawing upon Bloom's theory of the anxiety of influence, and adopting the intertextual theory in general and Laurent Jenny's approach to intertextuality in particular, the researchers try to discover and analyze the various relations and remarkable similarities between Kasrāyī's "Ārash-e Kamāngīr" (Ārash the Archer) and Akhavān's "Khān-I Hashtum" (The Eighth Labour) and to indicate thereby the wide extent to which Akhavān has been influenced by Kasrāyī. This research traces strong affinities and intertextual relations between the two. In terms of epic and myth, this intertextual relation hinges around continuity; in terms of political and social themes, setting, narrative and musicality, the intertextual relation hinges around compatibility; and in terms of linguistic structure and ending, it hinges around completion. Akhavān, in order to get rid of the anxiety of influence, tries to distinguish his poem from Kasrāyī's. Keywords: Intertextuality, the Anxiety of Influence, "Ārash-e Kamāngīr" (Ārash the Archer), "Khān-I Hashtum" (The Eighth Labour), Akhavān, Kasrāyī. Intertextuality is one of the most important conceptions in contemporary literary theory, spotlit in our country due to Iranian critics' preference for influence studies. By using the descriptive-analytical method, drawing upon Bloom's theory of the anxiety of influence, and adopting the intertextual theory in general and Laurent Jenny's approach to intertextuality in particular, the researchers try to discover and analyze the various relations and remarkable similarities between Kasrāyī's "Ārash-e Kamāngīr" (Ārash the Archer) and Akhavān's "Khān-I Hashtum" (The Eighth Labour) and to indicate thereby the wide extent to which Akhavān has been influenced by Kasrāyī. This research traces strong affinities and intertextual relations between the two. In terms of epic and myth, this intertextual relation hinges around continuity; in terms of political and social themes, setting, narrative and musicality, the intertextual relation hinges around compatibility; and in terms of linguistic structure and ending, it hinges around completion. Akhavān, in order to get rid of the anxiety of influence, tries to distinguish his poem from Kasrāyī's. Keywords: Intertextuality, the Anxiety of Influence, "Ārash-e Kamāngīr" (Ārash the Archer), "Khān-I Hashtum" (The Eighth Labour), Akhavān, Kasrāyī.

https://jba.shirazu.ac.ir/article_3277_68167e4ea2c744ddd8e9c1c3a86e76d9.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 1 2016 05 21 Analysis and Decoding the Nonverbal Communication in Sadis Boostan Analysis and Decoding the Nonverbal Communication in Sadis Boostan 181 210 3472 10.22099/jba.2016.3472 FA Mohammadhadi Ahmadianipai yasouj university Journal Article 2014 09 17 Būstān or Sa'dīnāma which depicts Sa'dī's ideal world yields well to interdisciplinary analyses. Nonverbal behavior plays important roles in communicative processes: it can be complimentary, denying, repetitionary, controlling, substitutive and emphatic; and sometimes it might play multiple roles. Researchers believe that in some occasions nonverbal communication is more important than verbal communication. Ray Birdwhistell and Albert Mehrabian, pioneering researchers in the field of nonverbal communication, believe 65 to 93 percent of meanings and purposes are conveyed through nonverbal communication. In this paper, the researchers have analyzed nonverbal communication in Būstān and have discovered that in terms of nonverbal communication, Sa'dī meticulously paid attention not only to body language, and the language of objects such as gifts, possessions, clothes, and jewelries, but also to paralinguistic elements such as tone, and words per minute (wpm). Being well aware of the impact of nonverbal communication, and connecting it with verbal communication, Sa'dī could help the transfer of meaning across the dramatic world of his poetry. keywords: Communication, Nonverbal Communication, Body Language, Message Transmission, Būstān, Sa'dī Būstān or Sa'dīnāma which depicts Sa'dī's ideal world yields well to interdisciplinary analyses. Nonverbal behavior plays important roles in communicative processes: it can be complimentary, denying, repetitionary, controlling, substitutive and emphatic; and sometimes it might play multiple roles. Researchers believe that in some occasions nonverbal communication is more important than verbal communication. Ray Birdwhistell and Albert Mehrabian, pioneering researchers in the field of nonverbal communication, believe 65 to 93 percent of meanings and purposes are conveyed through nonverbal communication. In this paper, the researchers have analyzed nonverbal communication in Būstān and have discovered that in terms of nonverbal communication, Sa'dī meticulously paid attention not only to body language, and the language of objects such as gifts, possessions, clothes, and jewelries, but also to paralinguistic elements such as tone, and words per minute (wpm). Being well aware of the impact of nonverbal communication, and connecting it with verbal communication, Sa'dī could help the transfer of meaning across the dramatic world of his poetry. keywords: Communication, Nonverbal Communication, Body Language, Message Transmission, Būstān, Sa'dī

https://jba.shirazu.ac.ir/article_3472_182e56399a453634429940961fb17756.pdf