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Varaqeh-o- Golshah is a beautiful and charming story, which Ayyuqi has put into verse.

The analysis of the components and the elements composing a story paves the way for the story to be known much better and reveals its merits and demerits. We have, therefore, had a structuralist look at the plot of the story as one of its basic elements.

In the story Varaqeh, the protagonist, aims at marrying Golshah. To this end he faces the resistance of the opponent forces; so the conditions of his own balanced life and those of his tribe are disturbed. But later on the protagonist succeeds to overcome his opponents with the helpful forces and achieves his aim. He also succeeds to restore the balanced and organized conditions – which are the result of the story’s events – to his life and that of his tribe.

The events that happen in the story form four Sequences in its plot. In this writing, as mentioned, the plots of the story and its consisting components have been analyzed from the viewpoint of structuralism.

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Maolavi known as Rumi, in a lyrical poem discussed in this essay, expresses some of his mystical points of view, not explicitly, but through the poem’s structure. This poem has an organic form and in its structure there is a sign that indicates "wind" in its own absence has become a symbol. This poem because of its special structure can show a part of stylistic distinctness of Rumi in poetry.

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Nezami Ganjavi enjoys a worldwide reputation as a great poet. His story-telling is based on reality. Together with his indescribable imagination, this feature has made him a distinguished poet in the realm of humanism and psychiatry. It seems that his genius is best depicted in Haft Peykar (Seven Planets) especially in his seven tales containing the inner layer as well as the outside elements of the story. One can go from the surface structure of his poems to the deep structure of his human character and, hence, discover the hidden aspects of his human character. A remarkable story in Haft-Peykar is the story of "Khair" and "shar". The theme of this story is a debate between two young people called Kheir (good) and Shar (evil/bad). This story can be interpreted in terms of psychology of the young. According to this classic psychological theory, the hidden aspects have a special status in manُ s spirit.These aspects sometimes manifest themselvessymbolically in humanُ's consciousness. In this story, good symbolizes humanُ s consciousness and bad/evil is the symbol of shadow and humanُ s subconscious. These two aspects finally reach a unity after a long debate with each other. The numerous archetypes such as anima, shadow, rebirth, journey, water and tree play significant roles in this struggle. The present paper is an attempt to shed some lights on these aspects.

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Shahnameh  is the whole mirror of ancient beliefs and Iranian's identity in far past years to the end of Sassanid's times. Most of Iranian ancient beliefs are manifested in each three parts of this epical work especially in mythic and epic periods. Herbages are the phenomena that is the subject of contemplation in mythical and also Totemic and anima beliefs which are some of the first forms of religion. The reflection of these beliefs which are sometimes similar to the other folk's myth, can be found in Shahnameh. Worshiping of herbages and the plant ancestry of mankind, which have often been seen among different tribes, are the core beliefs manifested in Shahnameh. Also, some of the characters in Shahnameh are goddess of herbage that their birth and death are the same as that of their mythical sample. In fact, these characters are the transformed models of mythical goddess of herbages.             

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The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.

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Most traditional grammarians in describing conjunctive make use of metaphoric genitive construction. However, one can see that there is a great difference between the two genitive constructions. The most important difference is the analogical structure which exists in the metaphoric genitive construction but it does not exist in conjunctive. Unlike grammarians who consider that the adjunct in this genitive construction is the main goal in conjunctive, what is considered here is the combination of the adjunct and the governed word and not just either of them alone. In most of the sentences in which there is a conjunctive, if we omit the adjunct or the governed word, the sentence will have a figurative meaning, a meaning which derives from the genitive construction.The strategy that traditional grammarians have suggested for identifying the characteristics of conjunctive is incorrect. Grammarians who have studied the subject from a linguistic perspective also did not explain this properly and they have only paid attention to the appearance of the compound and have neglected the meaning differences. This study concludes that in explaining the conjunctive we should not make a comparison between conjunctive and metaphoric genitive construction. The only resemblance of these two genitive constructions is in the structure “core + e + dependent.” If in examining genitive constructions only the structure is considered, all of the genitive constructions will be put in one group.  But paying attention only to the form of the compound does not complete the grammatical concepts. In grammatical investigations, it is better to consider the structure and meaning at the same time. Having said that the purpose of conjunctive is the figurative meaning of this kind of genitive construction and is not the adjunct or the governed word alone.

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In allegories polysemy relates not only to the context and the audience’s understanding but also to the structural characters of these texts. This paper investigates the function of structural and narrative properties in the creation of multiple interpretations of an allegory. Focusing on the events and following a unique story-line is the most important trait in helping to read the allegories. Thus, polysemy in allegories is also related to the number of the story-lines. Therefore, polysemy in allegories depends on two axes: paradigmatic and syntagmatic. In the first process, multiple interpretations are parallel with the various story-lines. These lines are themselves the result of the many characters and sequences. But in the second process, polysemy is only one story-line and based on the various textual meanings may offer different interpretations of one allegory. This classification may lead to some important results in the polysemy of literary symbols in literary texts.

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Modernity made widespread changes in the institution of theIranian family reflected in the Persian novels. The aim of this research is to study the effect of modernity on the traditional structure of family based on the novel of Shohar-e Ahoo Khanoom. The method of research is qualitative content analysis. The effect of modernity on the relationship between family members, changeof family functions, presence of women in the society, and marriage and divorce are among the topics which were studied in this research. Afghani tried to depict the changes of Iranian family in the period of the first Pahlavi. The findings of this study shows that modernity diminished the high status of the father in the Iranian family and, on the other hand, women attained independence and individuality and became more active in the society. Moreover, more traditional members of the family developed tendency to modernity, though their understanding of modernity has been superficial.

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One of the most important issues in narratologicalstudy of Masnavi is methods of reading and interpreting the allegories. The relationship between this subject and narration is best revealed when we attend to the relationship between interpretations and storylines, regardless of the content of those interpretations. The main aim of this paper is to investigate the methods by which Mawlawiinterpreted the allegories narrated in Masnavi. It can be said that presenting the interpretations on the syntagmatic axis is the most important property of Masnavi. To interpret these stories, Mawlawi reads these as separated storylines, then, presents an interpretation corresponding to each of them. Multiplicity of these storylines is the result of two factors: Multiplicity of characters and Multiplicity of sequences. In this process, the value of main storylines is equal to subsidiary ones. Therefore, sometimes, the motivation (initial interpretation) of telling an allegory is not proportionate to the final and medial ones. The validity of the storylines for presenting the interpretations is both a factor for polysemy of allegories of Masnavi, and a presenter of a narratological explanation for association in Masnavi.

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Communication includes all the ways that human beings can influence others. This involves not only speaking or writing, but also all human behavior in various ways, so there are two types of communicational signs that human beings use: verbal and non-verbal signs. In communication science, special attention has been paid to how non-verbal signs influence message transmission. The research has shown that a large proportion of messages are transmitted to others through non-verbal signs. In poetry, the poet uses both verbal and nonverbal signs to be more effective in relation to the audience, but often in the analysis of poetry, the focus is on the verbal signs. Mehdi Akhavan-Sales is one of the most remarkable poets of contemporary narrative poetry whose specific characteristic of his poetry makes it suitable to use the non-verbal signs. In this study, the use of non-verbal communicational signs has been discussed to answer the following questions: Which non-verbal signs did Mehdi Akhavan-Sales use in his poetic images? What induces non-verbal signs in his poetry? Is there a significant relationship between the signs of non-verbal communication and the dominant thought of Akhavan in his poems? This study shows that Akhavan transmitted some of the concepts and messages in his poetry by depicting non-verbal signs related to the eyes, hands, feet, head and neck, lips, mouths, etc. The frequency of using these signs is higher in poems that have narrative features. The messages conveyed by these signs are often sadness, fear, concern, anxiety, uncertainty, and despondency. The high frequency of false smiles and the frequent use of phonetic messages of silence indicate that duplicity, and improbity made his poetic atmosphere full of despair. The use of these signs shows that instead of explaining a feeling or trying to convey a message, he presents an effective poem to the audience in a succinct manner.
 

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Based on the theory of reflection in the sociology of art, literature in its broadest sense is a mirror of society that reflects the orientations, tastes and social currents and helps to dissect the society better than science and technology. In particular, among literary works, short stories and novels are more dependent on social life than other types of literature, and while being affected by changes in society, they themselves are the source of change and show the changes in societies. In this way, by recognizing the fluctuations and changes of the world inside the main characters of the stories, a path can be found to know the transformations and changes in the world outside them. The purpose of this study is to examine the image of the main character in Houshang Golshiri’s short stories. In this regard, an attempt was made to conduct a comparative content analysis of the works using the descriptive-analytical method and by extracting the characteristics of the main characters of Golshiri’s short stories in the 60s and 70s (Persian Calendar) and by identifying the main socio-political events and currents of the years following the victory of the Islamic Revolution. The results show that in his collection of stories Golshiri directly and indirectly presented a part of the mentalities and thoughts of intellectuals, artists and the middle class of his time and there is a close relationship between the spiritual, political, social and cultural characteristics of the main characters of each collection of stories with the prevailing socio-political situation of that period. This corresponds to the author’s political and social perception of the developments of the period because when the status of society changes, some of these characteristics also change.  
 

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Happiness as the goal and end of human life has been continuously considered throughout history. The concept of happiness as one of the basic human needs is understood and inferred in different ways. Most people consider happiness to be equal to pleasure, and some consider happiness to be the same as thoughtful life; In Sufism, happiness is the result of great spiritual expansion. The important point is that there is a common factor in all the definitions of happiness, and that is the feeling of satisfaction and contentment; Therefore, the feeling of mental comfort has a direct relationship with happiness. Jalaluddin Mohammad Mowlavi (604-672 A.H.) is one of the mystics whose words radiate joy. He considers Sufism as a way to receive the joy of the heart when sad factors come down, and he puts forward the components that lead a person to live happily ever after. Epicurus (341-270 B.C), the philosopher of the Hellenistic era of ancient Greece, who is known as the "philosopher of happiness", also presents a practical method that leads to happiness and happiness by considering sustainable pleasure as the ultimate human good. to be Now, the question is, what kind of pleasure is the pleasure of Epicurus, and does happiness from Epicurus' point of view and happiness from Mowlavi's point of view have common aspects or not?

Method: In this article, an attempt has been made to check whether there is a connection between Epicurean hedonism and hedonism from Mowlavi's point of view by means of library study and data comparison and analysis.

Findings and results: By carefully studying Epicurus' opinions and thoughts and his practical life, we can come to the conclusion that the pleasure from Epicurus' point of view is not only material and fleeting pleasures, but also like other moral theorists. The ancients expressed the goal as eudaimonia or happiness. The goal of his philosophy is to reach a stable state. In this way, man tries to achieve ataraxia by creating limits for his temporary and unstable pleasures. On the other hand, the practical philosophy of Epicurus expresses the components that have aspects in common with some views of Muslim mystics, including Mowlavi.