https://jba.shirazu.ac.ir/ Journal of Poetry Studies (boostan Adab) en daily 1 Sun, 23 Aug 2026 00:00:00 +0330 Sun, 23 Aug 2026 00:00:00 +0330 https://jba.shirazu.ac.ir/article_8716.html  Bahram Chubin, who in 588 CE served as commander of the Iranian army, defeated the Hephthalites and overcame the Turkic Khagan. Yet Hormizd IV, who had distrusted him from the outset, dismissed him on a pretext. This event paved the way for Bahram’s rebellion.The story of Bahram Chubin became intertwined with legend and assumed a contradictory character in historical sources. A survey of Arabic, Persian, and Byzantine accounts reveals four principal perspectives: first, popular narratives and epic legends supporting Bahram; second, the view of the magi and military elites aligned with him; third, the perspective of the magi and military factions loyal to Khosrow; and fourth, accounts shaped by popular traditions favoring Khosrow.This study identifies the various narratives about Bahram Chubin and examines their written or oral origins. It seeks to demonstrate how these accounts were formed and how they differ from one another. By analyzing their reflection in historical and literary texts—especially the Shahnameh—it further explores which tradition Ferdowsi favored and how his version relates to official sources and to oral narratives.  https://jba.shirazu.ac.ir/article_8559.html Psychology, based on the perspectives and methods developed over time, has primarily focused on treating the human psyche, concentrating on the diagnosis and remediation of mental disorders, abnormalities, and psychological dysfunctions. Among these approaches, some have addressed the pre-pathological stage, adopting a preventive perspective that seeks to forestall the emergence of psychological maladjustments. One of the most notable contemporary approaches in this regard is Positive Psychology, which emphasizes the study and cultivation of positive emotions, character strengths, and virtues. While it is difficult to attribute the origin of this approach to a single founder due to its development among various psychologists, today it is largely associated with Martin Seligman (b. 1942). This approach, one of the most recent in the field of psychology, specifically targets elements that foster a positive and flourishing mindset. In his well-being theory, Seligman identifies six core virtues—transcendence, humanity, justice, courage, temperance, and wisdom—each accompanied by corresponding subcomponents.This study examines and maps the six virtues of Seligman’s well-being theory onto the ghazals of Āli Shirāzi (1048–1121 AH), a talented yet relatively understudied poet of the Indian Style (Sabk-e Hendi). Through this comparative analysis, the research identifies manifestations of each of the six positive-psychological virtues in Shirāzi’s ghazals, which include: appreciation of beauty and aspiration for virtue, gratitude, optimistic foresight, faith and purposeful living, generosity, humor, enthusiasm, altruism, love, tolerance, diligence and effort, patience, honesty, self-control, humility, cautious future-orientation, critical thinking, creativity, and emotional intelligence. Āli Shirāzi, with a positive and attentive perception of his surroundings, successfully integrates dual dimensions of the abstract and intuitive worlds within a shared spiritual context. This study further explores the concrete elements through which he artistically expresses these positive-psychological components and examines the mechanisms by which these elements are interwoven in his poetic creation. https://jba.shirazu.ac.ir/article_8446.html Linguistic highlighting, in various lexical, syntactic, temporal, dialectal, and semantic forms, plays a central role in literary creations. In the eco-poems, the poet's references to cultural, environmental, and ecological components lead to an increasing frequency of local words, resulting in dialectal highlighting. This research, employing a qualitative semiotics approach, examines the discursive functions of dialectal highlighting in contemporary poetry from North Khorasan. For this purpose, two collections of poetry, Dochenar and Laylanah (song selections) by Hassan Roshan (d. 1976), have been selected, in which a total of 328 local and dialectal words are used in Dochenar and Laylanah. These words are mainly centered around local names of places, food, clothing, and games, which activate multiple functions at the levels of discourse. From the perspective of the emotional function of discourse, these words express the poet's attachment to his birthplace and, on a cognitive level, help to represent his social and cultural identity. This creates an incremental structure in the tense syntax of the discourse that deepens the lived experience of the audience. In the sensory-perceptual dimension, the purposeful use of dialectal words, in a phenomenological way, causes a "presentation of the absent." By activating the subject's five senses in the process of receiving meaning, this presence transforms native objects into a "cultural icon" and, in a nostalgic atmosphere, evokes deep feelings such as pride, strength, and happiness in the speaker and the audience. This sensory-perceptual dynamic, beyond a simple representation, leads to the creation of a unique aesthetic experience. In this experience, local vocabulary, by creating a time of “aesthetic presence,” causes the speaker to break away from the objective world and connect with the inner world. The result of this process is the production of creative poetic meaning and images, and it expresses the poet’s unique “discursive subjectivity. https://jba.shirazu.ac.ir/article_8609.html Aiming to elucidate the mechanism of "subject coherence" amidst the crushing pressure of "social judgment," this research seeks to propose a theoretical framework for analyzing the process of "individuation" in the mysticism of Rumi. The central inquiry of this study concerns the analysis of the human condition when confronted with a multiplicity of evaluative authorities, and the manner of transition from this state toward "autonomy." To this end, transcending mere descriptive analyses, this article proposes a theoretical model and a network of novel concepts grounded in three pillars: 1. The "Valid Observer" (as the semantic locus of psychic life); 2. The "Congestion of Observers" (a critical state characterized by normative conflict and identity fragmentation); and 3. The "Anti-Observer" (as a catalyst for transition).By applying this model to Ghazal 1247 of the Divan-e Shams, it is demonstrated that Rumi precisely diagnoses the crisis of the "Congestion of Observers" and delineates a path of transcendence not through changing the external observer, but through the encounter with an "Anti-Observer." Findings indicate that the "Anti-Observer," by suspending all prior judgments, facilitates the birth of the "Transcendental Self." Ultimately, this model elucidates how the imperative "Be thine own measure" (Mīzān-e khod sho) is not an invitation to narcissism, but a process for transferring authority from the "Generalized Other" to the "Internalized Truth" (Haqq), thereby realizing "Mystical Individuation." https://jba.shirazu.ac.ir/article_8715.html  The narrator is one of the oldest elements of literature, with a history as long as human culture itself. In ancient narrative traditions, the narrator was not merely a literary device but also a bearer and transmitter of collective memory, national traditions, and cultural values. Narrative therefore played a central role in preserving earlier poetry, and epic literature became one of the oldest narrative forms among nations. Like modern writers, ancient storytellers used narrators to convey events and organize the story world. The narrator may thus be regarded as the author’s representative in the text: the figure who recounts the story and sets it in motion, although he/she is not necessarily its creator. In classical narrative texts, the narrator often occupies a transcendent, almost godlike position; in later periods, especially after the Renaissance and with the rise of the modern novel, this position becomes earthlier and more artistic. Theorists have accordingly classified narrators according to their narrative level, point of view, degree of knowledge, and distance from events. Ferdowsi’s Shahnameh, as a foundational work of Persian literature, has a strong narrative structure and can be productively examined through modern narratological concepts.  https://jba.shirazu.ac.ir/article_8624.html (Faranoo) is a branch of contemporary Persian poetry that was invented by him along with several other poets. Farano poetry emphasizes the use of simple words, brevity, and the use of proverbs and colloquialisms. Despite the fact that this type of poetry is not completely aligned with (Minimalism), the way this type of poetry benefits from (brevity) has caused similarities between it and the school of (Minimalism) or minimalism. The main issue of the research is how to transform brevity from a formal feature to a meaning-making structure in the works of this poet. The research findings show that Eksir, understanding the necessity of communication in the contemporary accelerated world, has benefited from (lexical economy) to convey maximum meaning. He has represented macro-social and political concepts in very short formats by using techniques such as (structural brevity), (objectivity), and focusing on (everyday objects). Another fundamental feature of Akbar Eksir's poems is the connection between (sarcasm) and (brevity); In a way, by eliminating linguistic excesses and additional descriptions, the poet has prepared the space for creating an effective humor by creating a (final shock) or surprise in the final line. The research findings confirm the point that the brevity of the elixir, with the aim of careful reflection and the audience's participation in completing the meaning, has added to the clarity and effectiveness of social criticism in his poems. It seems that the basis of (minimalism) is based on simplicity of expression and avoidance of common complexities, but (brevity) in Persian poetry, especially in contemporary and Farano poetry, emphasizes the brevity of words and their double effectiveness. And sometimes this goal may be achieved by resorting to the use of some literary techniques and the appearance of the words is not so simple. https://jba.shirazu.ac.ir/article_8555.html Noqtaviyah is a branch of the Hurufiyah movement, founded by Mahmud Pasikhani (died 1427 AD) In the 15th century AD. This is why the followers of this movement are sometimes called Pasikhaniyan and sometimes Mahmudian. Mahmud Pasikhani himself was initially a follower of Fazlullah Na’imi Astarabadi (died 1393 AD), the founder of the Hurufiyah, who was later rejected by Na’imi due to his excessive materialistic beliefs. The beliefs of the Noqtaviyah include materialistic-reincarnation ideas, elements of ancient Iranian, and tendencies of chauvinism and blasphemy (from the point of view of the refutationists). The aforementioned group lived in secret for about a century and in that state they devoted themselves to propagating their teachings, and as can be seen from a number of sources, they had connections with the remnants of the Ismailis in the 16th century AD. Noqtaviyan were persecuted and searched many times from the second half of the sixteenth century until they were severely suppressed and massacred in several stages, especially in the years (1574 and 1585 AD). In the meantime, many scholars and preachers of the Noqtaviyah were also destroyed, as were their works. Abul-Qasim Muhammad Amri Shirazi is one of the extraordinary and at the same time one of the most controversial figures of the Noqtaviyah movement in the sixteenth century. As the chroniclers have written, Amri was an unparalleled figure in the sciences of the occult, numbers and mysteries, and therefore in a short period of time, many people gathered around him. Due to the dissemination of his ideas, which were considered atheistic by the rulers and people of his time, he first became blind in the year (1565 AD) and finally was murdered in the year (1590 AD) while he had repeatedly insisted on his monotheistic faith and renounced the propagation of the religion of Mahmud Pasikhani. Apparently, Amri Shirazi had many works of poetry, most of which have been lost today. In this article, a large number of poems by Amri Shirazi are discovered and introduced from manuscripts and lesser-known sources.   https://jba.shirazu.ac.ir/article_8645.html Before the development of scientific prosody (ʿarūż), teaching the metrical system of classical Persian poetry was considered one of the most challenging areas in Persian literature. Prosodists consistently attempted to resolve this challenge by inventing new instructional methods. According to the literary tradition, one of the most effective strategies for simplifying the teaching of prosody was the use of verse itself. Keeping this in mind, the authors of the present study examined various poetic collections, extracted relevant examples, and analyzed the function of prosodic compositions as well as the use of metrical terms and vocabulary. Through this process, they identified two distinct approaches taken by poets toward prosody and Persian poetry:Using poetry as a tool to facilitate the teaching of prosody, and Employing metrical terminology within poetry to create artistic and aesthetic effects on the reader.in the first approach, poets attempted to present prosodic concepts in metrical and rhymed form to improve instruction—works of this type are often labeled as “metrical prosody” (ʿarūż-e manẓūm) in manuscript sources. However, many of these works are considered tedious to read, and their authors have been criticized for prioritizing instruction over poetic beauty. As a response to this criticism, some poets incorporated rhetorical and prosodic devices into their poems, laying the foundation for what later became known as artificial poetry (shiʿr-e maṣnūʿ). Thus, “metrical prosody texts” and “artificial odes” constitute two major categories of poetic works that employ prosodic material—both of which are examined and evaluated in this research.In the second part of the article, the aesthetic use of prosodic terminology in poetry is analyzed. Various examples from Persian poetry are compared with similar cases in Arabic poetry, and the poets’ purposes in using metrical terminology are categorized and presented in statistical tables https://jba.shirazu.ac.ir/article_8407.html The tradition of nazirehguei (poetic imitation or model-based composition) in Persian literature is recognized as a creative method for reimagining classical texts. This literary practice enables poets to compose new and independent works while preserving the structural framework of earlier masterpieces. In this process, the poet adheres to the formal principles of the source text while simultaneously introducing personal perspectives and innovations. Nazirehguei is therefore not mere imitation; rather, it represents a dynamic dialogue between tradition and originality. This longstanding practice has played a significant role in transmitting literary concepts, styles, and aesthetic values across generations. Its prominent examples appear in counter-writings inspired by the works of Hafez, Sa’di, Rumi, and Ferdowsi—texts that, while revering their originals, offer fresh insights and new aesthetic sensibilities. Focusing on Persian poetic texts, the present study investigates the historical evolution of literary imitation and analyzes its aesthetic and thematic dimensions. Studying this literary tradition yields a deeper understanding of the development of Persian poetry and the relationship between classical and contemporary texts. The importance of this research lies in clarifying the function of imitative compositions as a bridge connecting different literary periods and as evidence of the evolving poetic taste and intellectual orientation of poets throughout history.  https://jba.shirazu.ac.ir/article_8654.html As the most fundamental epic text in Persian language, Shahnameh presents a multi-layered picture of ugly concepts. Concepts that in addition to the physical dimension, are also manifested within the characters. This research, using a descriptive-analytical method, examines the reflection of ugliness in Shahnameh and uses Umberto Eco's perspective in his book "The History of Ugliness" and attempts to provide a deep understanding of aesthetic function of ugliness in Shahnameh. In his book "The History of Ugliness", Eco has examined the manifestations of ugliness in Western civilization from a historical and cultural perspective, showing that in Western history, ugliness has often been associated with the interior of the person. Also, Ferdowsi presented external and internal ugliness in Shahnameh within the framework of Iranian ethics, epic and worldview. This article attempts to show the commonalities between these two approaches to the concept of ugliness. The results showed that like the Western tradition, Ferdowsi considered deeper moral and social layers beyond appearance in his depiction of ugliness. Characters such as Zahhak and Demons are clear examples of facial ugliness and inner corruption. There are exceptions that make the reader reflect on the complex relationship between appearance and interior; for example, Sudabeh with her beautiful exterior, has an ugly interior, and Zal with his unnatural exterior, has a beautiful interior. Eco also exemplifies Helen's external beauty with an ugly interior. Iran's enemies are also seen as "others" in an identity and cultural demarcation, a manifestation of ugliness. In addition to external ugliness, the Shahnameh also features many internal uglinesses; uglinesses that are not visible on the person's appearance but have contaminated the person's interior and led to ugly behaviors; such as the ugliness resulting from the love of power in Goshtasb or the ugliness resulting from foolishness in Keykavus, etc. https://jba.shirazu.ac.ir/article_8433.html  Nezami Ganjavi, one of the most distinguished narrative poets of the Persian literature in the 6th century AH, immortalized profound themes such as the conflict between good and evil, love and fidelity, and the motif of journey through works like Khosrow and Shirin and Haft Peykar. The impact of Nezami’s narrative poems extends far beyond Persian literature and has influenced the literary traditions of both Persian-speaking and non-Persian-speaking regions, including Azerbaijani and Turkic literature. The folk tale Koroğlu is one of the most significant popular epic-lyrical narratives within the cultural domain of Azerbaijan. It recounts the life of a justice-seeking hero who fights against feudal oppression, and it holds an esteemed status in the oral literature of the Azerbaijani region. In classical Persian literature, shared themes and mutual influences play a pivotal role in forming stories and shaping narratives. Given the striking thematic similarities between this tale and Nezami’s works, the present study begins with the hypothesis that the themes and narrative elements in Koroğlu have been shaped under the influence of Nezami’s works, especially the two poems Khosrow and Shirin and Haft Peykar. Investigating this influence can reveal aspects of cultural and literary interactions between Persian literature and Azerbaijani folk literature and offer a deeper understanding of the intertextual network connecting these works. With a comparative approach, this study aims to uncover the hidden connections between these texts and fill an existing gap in comparative literary studies.  https://jba.shirazu.ac.ir/article_8708.html abstractThis comparative study examines the evolution of plant imagery in three seminal works of Persian literature from different eras: Asadi Tusi's Garshāsbnāmeh (5th century AH), Amir Khusrow Dehlavi's Ghazals (8th century AH), and Sohrab Sepehri's Hasht Ketāb (Contemporary). The primary objective is to analyze the transformation of plants' symbolic functions from mythological and philosophical perspectives. Employing a descriptive-analytical method and drawing on theoretical frameworks such as metamorphosis, identification, animism, and plant sanctity, five principal manifestations were identified: 1.Metamorphosis (human-to-plant/plant-to-human transformation): Manifested in Garshāspnāmeh through mythological archetypes (e.g., plants sprouting from human blood/tears, Keyumars); transformed into a literary device expressing romantic emotions in Amir Khusrow; and reimagined with philosophical concepts (ashes, unity of being) in Sepehri. 2.Identification: Simple and objective in the Khorasani style; intricately linked with novel literary imagery in Amir Khusrow's ghazals; and elevated to an ecocentric, mystical experience in Sepehri. 3.Animism (attributing intelligence/sentience to plants): Prominent in Amir Khusrow and Sepehri, leading to the perception of plants as autonomous beings in contemporary poetry. 4.Plant Sanctity: Ritualistic in Garshāsbnāmeh and ontological in Sepehri. 5.Other Functions: Including sustenance and clothing in Asadi's work; literary devices in Amir Khusrow; and the expression of abstract concepts (hope, salvation) in Sepehri. The findings reveal that plant symbols have evolved: from ritual-mythological functions in epic literature, to romantic metaphors in classical ghazals, and ultimately to philosophical-ecological experiences in contemporary poetry. This study attests to the dynamism of the Persian literary tradition in reimagining ancient archetypes and its semantic shifts over time. https://jba.shirazu.ac.ir/article_8501.html Ferdowsi’s Shahnameh is more than a heroic epic; it is a multilayered work that reflects psychological, philosophical, and ethical concepts within its mythological and historical narratives. This monumental text not only recounts the history and culture of Iran through heroic tales but also symbolically portrays the structures of the human psyche. One of the most effective approaches to uncovering the hidden layers of the Shahnameh is the application of Carl Gustav Jung’s theory of archetypes. Jung argued that within the collective unconscious of humanity, primordial and universal patterns exist that recur across cultures in the form of characters and narratives. Among these archetypes, the “Wise Old Man” stands out as a symbol of wisdom, experience, and guidance, appearing in critical moments as counsellor and mentor. In the Shahnameh, two figures, Gudarz of Iran and Piran of Turan, despite standing on opposing sides of the battlefield, share striking similarities in their wisdom, prudence, and social roles. This article focuses on comparing these two characters, aiming to demonstrate how Ferdowsi reimagines wisdom within the epic framework and elevates it as a force distinct from physical strength and military valor.   https://jba.shirazu.ac.ir/article_8771.html Beyond his prominent standing in poetry, Asadi Tusi is a major figure in Persian lexicography and word-formation, and his Garshāsp-nāma constitutes a rich corpus of archaic, obsolete, and occasionally unique vocabulary. One such lexical item is “Shakāvand,” which, across Persian lexicons—each following its predecessors—has generally been recorded as a proper noun, with the initial consonant vowelled with fatha (a). Problematising the assumption that “Shakāvand” functions as a proper noun within the Garshāsp-nāma, this study seeks to offer a new reading of the term by attending to the analysis of its linguistic context, the morphological structure of the word, and Asadi Tusi’s poetic lexicon, while also consulting a number of manuscripts of this epic work. The present inquiry demonstrates that the frequent co-occurrence of synonyms for “valley” in glossing or referring to “Shakāvand,” together with a morphological analysis of the word and an examination of the characteristic features of Asadi Tusi’s poetic lexicon, supports the conclusion that “Shakāvand” is a common noun probably coined by the poet himself, used in the sense of “valley,” and that its vocalisation with kasra (i) on the initial consonant—rendering it “Shikāvand”—is more justified. A further finding of this research indicates that, over time, the word probably underwent a gradual shift from a poetic coinage to a proper noun. By tracing this lexeme’s diachronic development from a poetic innovation into a toponym, this study illustrates that the recording and interpretation of archaic vocabulary, when detached from textual context, linguistic structure, and a word’s historical trajectory, can lead to inaccurate or mistaken conclusions. https://jba.shirazu.ac.ir/article_8882.html At the end of the seventh volume of his edition of the Diwan-e Kabir, Badiʿ al-Zaman Foruzanfar compiled a comprehensive lexicon entitled Farhang-e Navader-e Loghat va Taʿbirat va Mostalahat-e Diwan-e Kabir, in which he explained and interpreted a wide range of words, expressions, and technical terms occurring in the Diwan-e Kabir with exceptional mastery of Rumi’s language and style. This lexicon has long served as an indispensable resource for resolving the linguistic and semantic difficulties of numerous verses in the Diwan-e Kabir and, indeed, in Rumi’s other works. Despite its enduring scholarly value, however, the Farhang-e Navader contains a number of omissions, inaccuracies, and inadequately explained entries. In some cases, words, expressions, and technical terms have been overlooked or insufficiently explained; in others, problematic readings or emendations of the text have led to questionable interpretations.This article re-examines a number of such cases through evidence drawn from Rumi’s works, the poetry of other Persian poets, and Persian lexicographical sources. By reassessing these entries and readings, the study seeks to clarify the meanings of the relevant verses and to contribute to a more accurate understanding of the language of the Diwan-e Kabir https://jba.shirazu.ac.ir/article_8789.html Saadi’s Bustan stands as a remarkable example of Persian poetic rhetoric. Particularly in the openings of his didactic tales, Saadi displays his artistic ingenuity in employing rhetorical techniques. Nevertheless, little research has been devoted to uncovering and analyzing the intricate rhetorical secrets embedded in the beginnings of these narratives. Although classical literary criticism has long recognized the rhetoric of a poem’s openings under terms such as husn al-matla’ (graceful opening) and bara’at al-istehlal (exemplary introduction), these largely pedagogical concepts prove insufficient for a precise analysis and full appreciation of the rhetorical value within the Bustan’s narrative openings. Focusing on the concept of “artistic intent”, the present study seeks to discover and analyze a portion of these rhetorical secrets. To this end, by integrating the knowledge of traditional rhetoric with the modern achievements of rhetorical criticism, formalism and structuralism, the study relies on repeated and close reading of the text to identify the presence or absence of artistic techniques and devices at the beginning of each tale. Subsequently, the structure and function of each technique are elucidated, ultimately providing an analytical explosion of their rhetorical value. The findings indicate that the rhetorical telos and value of these openings lie in Saadi’s ability to captivate the audience’s attention from the very beginning. He mitigates the gap between the audience’s mindset and the didactic message through literary devices, thereby amplifying the beauty, appeal, and impact of his discourse. Furthermore, a comparative analysis of theses opening rhetorical strategies highlights the practical function of the “artistic intent” concept in rhetorical analysis and its role in enhancing the reception and influence of a literary work. https://jba.shirazu.ac.ir/article_8946.html Financial and auditing rules have been among the criteria for measuring fairness in the administration of the country. Recognizing the knowledge of the past in this field and combining it with accounting rules and corresponding laws in the modern era can be very useful in re-examining the knowledge of predecessors. This research, using a descriptive-analytical method, attempts to examine accounting and auditing concepts in Ferdowsi's Shahnameh. The results of the research show that the instances of accounting and auditing in Shahnameh have a great conceptual harmony and commonality with the modern concepts of this science, despite the changes in titles and terms, and it can be said that some of the laws that have been established today in accounting have also existed in the past. In addition, accounting and auditing concepts have a more prominent reflection in the historical period of Shahnameh, and the instances of tribute and tax in Shahnameh are also more prominent than other cases, which indicates the importance of taxation in the development, administration of the country's affairs, payment of salaries, and preservation of national security. In the era of Bahram Sasanian and Anushirvan, respectively, accounting and auditing issues have greater prominence, and in this period, auditing affairs find more organizational and administrative unity and coherence. The concepts of this science in Shahnameh have been examined and analyzed in fourteen titles, including: income and expenses, profit and capital, buying and selling, devaluation of national currency, tribute and tax (taxes), tax evasion, tax reduction, tax increase, tax exemptions, financial assistance to the weaker sections of society and bankrupt individuals, compensation for damage to agricultural products during natural disasters and famine relief, government borrowing from merchants, and copying and maintaining financial documents and dispatching tax inspectors. https://jba.shirazu.ac.ir/article_8824.html The theory of text worlds is the model of human language processing and does not only exist the whole text, but also examines the textures around the production and the interpretation of the text. The main assumption in this theory is that man processes and understands the discourse through mental representations. This theory consists of the universe of discourse, the world of the text with two components of the elements of the world of mechanisms and the propositions of the Expanding role, and the subdivisions of the subdivisions consisting of a subconscious, attitude, and epistemic. The purpose of the present study is to identify the constructive structures of Sohrab Sepehri's "Eight Books", and " al-Tahavollat and Al-hejrat fi Aqalim al -Nahr and Al-lai ". study is based on a descriptive-analytical method based on comparative literature using the approach of the theory of the Paul Werth text world. The findings of the study show that in the world of discourse, the content of the book is more in the form of dialogue with nature and is in the words of natural elements. And in the context of text worlds, cost makers have characters such as tree, grass, flowers, animals and they are repeated at different times, and in the context of the role of the widespread role of the micro -world, which is accompanied by command and no discrepancy in these worlds. The subconscious worlds are more likely to change the present position, and the frequency of the universe under the attitude is the world of targets, and the epistemic world is not very emerging. https://jba.shirazu.ac.ir/article_8825.html Khosrow and Shirin, as one of the masterpieces of Nizami Ganjavi, is distinguished both for its refined poetic language and for its rich imagery; for this reason, it has repeatedly been explicated by numerous scholars and commentators. Despite these extensive efforts, some verses of this masnavi still present semantic and imagistic ambiguities. The present study examines and reinterprets one of the controversial and much-disputed verses of Khosrow and Shirin. The verse in question, describing Shirin and her attendants strolling in the plain of Anjerak, reads:در آن مینوی میناگون چمیدند فلک را رشته در مینا کشیدندPrevious commentators have offered widely divergent interpretations of this verse, such that almost no two explanations fully coincide. This study first surveys these differing interpretations and their points of disagreement. It then proposes a new reading based on contextual and textual evidence, grounding the phrase “reshte keshidan” in its technical meaning within the art of enameling. By considering the semantic multiplicity of this expression and the overlap between the celestial (Falak) and artistic (enamel) imagistic fields, the study argues that probably,Nizami deliberately employed a technical term from enameling to construct a layered metaphor. In this interpretation, the earth—likened to an enameled surface—is adorned by the luminous presence of Shirin and her companions, who function metaphorically as delicate silver filaments embellishing the enamel, thereby establishing a poetic counterpoint between earth and sky. https://jba.shirazu.ac.ir/article_8827.html This study uses a qualitative approach and deductive content analysis to examine the behavioral elements in Parvin E’tesami’s allegorical poems through the lens of Albert Bandura’s social-cognitive learning theory. The research sample consists of fifty purposefully selected allegorical poems that best align with Bandura’s theoretical components. Findings reveal that the ethical symbols in Parvin’s poetry provide a fertile ground for mental encoding, behavior modification, and social-cognition enhancement. Her allegories closely correspond to Bandura’s concept of observational learning, and the structure of her poems generally matches the stages of social learning. Key components such as “vicarious punishment,” “reciprocal determinism,” and “ripple effect” are prevalent in most of the selected pieces. Moreover, “intrinsic motivation” emerges as the most prominent learning factor in the sample, underscoring the poet’s emphasis on the continuity of the learning process despite social adversities. Overall, Parvin E’tesami’s allegorical poems function as an indirect yet effective literary action that actively engages the audience in learning and instills favorable social norms into their conscious awareness. https://jba.shirazu.ac.ir/article_8937.html This study analyzes the representation of death in the poetry of Fereydoon Moshiri, focusing on Julia Kristeva’s theory of “abjection.” The primary aim is to uncover how death is depicted as an “abject object” in Moshiri’s poetry and to examine the defensive and aesthetic mechanisms the poet employs to confront the existential anxiety it evokes. The research method is a qualitative content analysis of selected poems by Moshiri, centered on themes of death within Kristeva’s conceptual framework. The findings demonstrate that death in Moshiri’s poetry distinctly exhibits the characteristics of Kristevan abjection: (1) Death is simultaneously portrayed as a terrifying threat and a means of liberation; (2) Death transgresses the boundaries of the body, identity, life/death, and inside/outside; (3) Death becomes a familiar and inseparable presence within the poet’s psyche. To cope with death anxiety, Moshiri employs symbolic and aesthetic defense mechanisms: beautifying death, creating imaginary rituals, and returning to the semiotic. Ultimately, the study concludes that Kristeva’s theory of abjection provides a powerful tool for uncovering the deep psychological, existential, and aesthetic layers of Moshiri’s engagement with death, revealing how his poetry, by masking the terrifying with the veil of symbol and beauty, enables living with the anxiety of death. This reading marks a novel step in understanding Moshiri’s poetry and demonstrates the potential of Kristeva’s theory in the critique of Persian literature.