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About the beginning of the second century and after the installation of Baqdad, Baqdad mystical school was established by some of Sophies such as Maruf karkhi. This school was continued by Sari Saqati and finally was completed by Jonayd Baqdadi .The climax of this school was in the fourth century thanks to Jonayd's learnings and those of his students such as Shebli, Vaseti and Joreyri…

The most distinguishing characteristic of the disciples of this school was their absolute adherence to the appearance of the religion which was mainly caused by their reaction to unawareness school. They explained this school by discussing the alertness (consciousness) and unawareness. Jonayd himself was always on alert and was never unaware. Possessing this characteristic, he was always ready for obeying the religion's orders. There are other factors in addition to the above-mentioned causes for obeying the religion's orders.

In this article, first, we examine the domains in which Jonayd school caught on in the third, fourth and fifth centuries and then some disciples of this school will be briefly introduced. Then we will discuss why the founders of this school were committed to following the face rules of this school.

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By the crowning of Fatali Shah Ghajar, poetry found a better position and status compared with the previous periods of Zands and Afsharids. The Ghajar king who was a poet himself and whose pen name was khaghan began to support poets and with the formation and establishment of the new center of restoration movement in Tehran, many poets directed their steps from around the country toward the capital of Iran, Tehran. Khavari Shirazi is one of the poets who immigrated from Shiraz to Tehran and by relying on his inherent talent and practicing letter writing and historiography, and poem recitation in the literary circles of the capital, turned into one of the relatively known poets and writers of his era and left many complete poetical works embracing more than seven thousand couplets of different forma such as elegy, ode, compounds of stanzas , mathnavi, quatrain and poems stanzas. In this paper, after providing a brief study of poetry status in Afshar era , up to the end of Fatali shah's period , the  biography, the works, the Divan of the poetry and the compilation of the Divan and style of Khavari shirazi are analyzed in details.

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This study attempts to indicate that ‘exclusivity’ is not organized adequately in semantic books. In these books, there is not a clear- cut boundary between different kinds of literary exclusivity; moreover its categorizations are based on the reader^,s’ mastery over the speakers or the addressees’ intentions. After analyzing and categorizing the three groups cited in semantic books, the author concludes that the real non- claiming exclusive sentences should be analyzed in the realm of language studies, and unreal daiming sentences in the realm of literature. Furthermore, a change in the tone of reading or the stress in pronunciation determines the adjective and noun or the noun and adjective. In order to clarify exclusivity of ‘singularity, metamorphosis and identification’, accurate identification of the addressee is highly necessary. Finally, the position of exclusive sentences and implications is not clarified. It is suggested that when teaching or analyzing ‘exclusivity’, the five fields of discourse analysis, literature, knowing the addressee, sentence recognition and implicatures must be taken into account.

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Quranic tales have always been used by Persian poets in order to create beautiful and unique themes and images. One of these tales is the tale of Adam and Eve and their Fall from Heaven due to eating the Forbidden Fruit. Following most Islamic commentaries, wheat has been considered as this fruit in classic Persian poetry, but the reading of contemporary poets of this tale is different. Sometimes, their reading is similar to classic poets but in other times, following the Old Testament, they consider the apple or the tree of Knowledge of Good and Evil as this fruit, and still in other times they have a mixed reading of Islamic and Jewish traditions. Also, some contemporary poets have proposed a symbolic reading of this tale. This article, initially provides a history of the tale of Forbidden Tree in the Quran, Old Testament and their commentaries. Then, this issue is investigated in the poems of twenty outstanding contemporary poets (from Nima to the present time) and their poems are compared with Quranic and Biblical narratives. The results show that those contemporary poets which have traditional views, have paid attention to Islamic narratives whereas modern poets have often used Biblical narratives

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Pragmatics is related to language use in context. A single sentence can have different functions in different contexts. Hence, the meaning is the same as function and the function does not exist out of context; however, the type of sentence has a decisive role in inferring the right meaning. The interrogative sentence in Persian language has two types of rhetorical and non-rhetorical questions. The aim of rhetorical interrogative statement is to convey the message indirectly and more effectively. Qeysar Aminpour has employed interrogative statements in various and different ways in his five poetry books. The questions mentioned in each poetry book are the results of the poet’s social circumstances and his intellectual-emotional perceptions. By moving from the first period to the third one, the questions become more contemplative and realistic in terms of quality and intellectual aspects. Therefore, by investigating the intentions behind interrogatives based on time process, the intellectual-emotional metamorphosis of the poet can be recognized. Most of these intentions include: 1. Astonishment, 2. Doubt, 3. Criticizing, 4. Hope, and 5. Desperation. Astonishment in Qeysar’s poems moves from certainty in revolution and war goals to astonishment in self-discovery and achievement of the goals. His doubt is basically related to third period due to his astonishments including belief, pragmatic and realistic aspects. The most important intellectual-emotional metamorphoses of the poet include: 1. From certainty to uncertainty, 2. From utopia to real life, 3. From individualism to collectivism, 4. From attitude to insight or from observation to contemplation, 5. From winning the war to victory over the war, and 6. From despair to hope .

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The language philosophy theory of “speech acts” is one of the text analysis theories on the basis of which we can analyze rhetorical and literary concepts in smaller linguistic units (utterances). This article analyzes Sepehri’s "Seday-e Pay-e Aab" according to this theory. This poem has been analyzed according to the revised model of J. R. Searle’s five “speech acts," and the author’s three affective methods. After defining the expressions and the principles of the speech act theory and specifying the concept of the three effective methods in line with this theory, under each of the five acts (assertive, directive, commissive, expressive, declarative), some examples of the lines of the poem have been analyzed. Sepehri has used assertive and expressive acts in all the parts, directive act in most of the parts, but no commisive or declarative acts in any parts of the poem. To intensify the effects of his words, the poet has used strategies like repetition, intensification, and linking of the acts in his poetry. Using the directive, assertive and expressive speech acts, on the one hand, Sepehri describes and criticizes the past and present of the world; on the other hand, by delivering his poetic view and his ideal world, he coaxes his readers into living a specific lifestyle. To achieve this, he uses three affective methods creatively. Due to the specific features and applications of commisive and declarative acts, Sepehri has not been able to use them in this poem.
 

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The term “trauma” is used to refer to a situation in which a person’s psyche is harmed by a traumatic event. Žižek argues that trauma is the result of unexpected intrusion of the Real (event) into the Symbolic (symbolization) and acquires meaning in the structure of the Deferred Action. People’s reaction to any traumas is acting out or working through. In the acting out process, the patient displays sign of mental disorders like nightmares, yet in the working through, the patient hides mental suffering in the subconscious and fantasies and transfers the sufferings to another place by means of creating a fetish narration. Regarding the psychological nature of the trauma, the patient is unable to convert it into the Symbolic, and this psychological problem can be recognized only by its symptoms in the person. However, psychologists believe that the only treatment for trauma is to change it to the Symbolic. This study aims to investigate the way of representing trauma in the novel The Dead Dolphin by Hassan Bahrami. The findings show that he has successfully overcome this challenge by utilizing magic realism and its imperceptible combination with trauma features. Through combining local myths with trauma and taking advantage of their dual and contradictory nature, Bahrami has created a strong link between trauma and magic realism and portrayed the character’s trauma. This study proves that magic realism is a proper technique for writing psychoanalytic novels to represent and symbolize people’s trauma.