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The Mosibatname is one of the most important of Attar's couplet poem in the field of mystical literature. In this work, the poet's prayers to his god have a special attraction. The structure of these conversations in the layers of fear, intimacy and blame accompanies the poet in expressing social and moral thoughts. In this research, which was formed in a descriptive-analytical way, it seeks to answer the discursive dimensions of Attar's Mosibatname prayers and how to explain and interpret the social and power relations in this text based on Farklough's model. According to this approach, the types of prayers of Attar in the Mosibatname include three branches of fearful, sincere and reproachful prayers, which have been examined at three levels of description, interpretation and explanation. At the description level, the characteristics of vocabulary, sentence structure, and grammar express the poet's social experience and reflect the social unrest and turmoil of the 7th century in Khorasan. In the interpretation, the poet's focus is on the description of God's main attributes and it shows the pure submission of the servant to God, which confirms the dominance of the Ash'ari determinism over the poet's society. In the explanation, we observe the traces of the court system and the poet's desire to purify the atmosphere of the era. A space where social, religious and ideological chaos has been precipitated and worldliness and utilitarianism have flourished. The representation of the social governing system and the poet's aspiration for peace and friendship are among the other findings.
Keywords: Attar, Mosibatnameh, prayers , Fairclough, discourse analysis.
 

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In modern times life was associated with an anxiety, frivolity and despair that ultimately led to the inevitable fate of death and this was the issue that was considered in modern art and literature. Hedayat due to desperate worldview and desire that he showed to the concept of "death", the existential influence of death in human life was subject to many of his stories. In Hedayat stories, most of the characters are caught in isolation, pessimism, absurdity and various psychosis, which leads to their death and suicide in many cases. In this article, we analyzed the essential importance of the concepts of "madness" and "fear of death" and the function of madness in confronting the fear of death in the Hedayat's Stories Zende be Goor and Se Ghatreh Khoon. Research findings show that in Hedayat's stories, madness inveigles death and Terror of death by making modern life meaningless and Emptying people's minds and it frees the minds of the characters from existential anxiety and worries and terror of death by giving up life before death and by taking advantage of ironic suicide.
 

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The goal of achieving an older, more authentic edition of Shahnameh requires meticulous attention to every element, from the general themes to the smallest details. The unique character of this work is due to its antiquity and impressive volume, making it one of the most important sources of the Persian language in various fields such as history, mythology, historical language grammar and rhetorical techniques, increases the importance of this special attention a hundredfold. With this approach, this article has two main topics, in which other topics are also discussed. The first issue is to find and prove some cases of using the words bâd “wind” and gard “dust” containing the meaning of haste and speed with or without the preposition az. Another issue focuses on the fact that in the critical edition of Shahnameh, on seemingly unimportant matters, where there is not much difference between the recording of the oldest manuscript and the consensus of others, such as key and effective issues about the meaning of the verses and the scheme of the stories, one must be as careful as possible in choosing recordings, and the mere existence of a word in the Florence manuscript should not be considered accurate and should not be included in the text. This question has been addressed by relying on the verse containing the first mention of Zahhâk in the Shahnameh: ke az mehr bahra-š nabud andaki.
 

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Affection is one of the methods of improving the quality of life and establishing effective human communication through which a person can understand a world full of meaning and full of emotions. One of the basic and fundamental emotions is sadness, which can sometimes cause serious problems due to the severity of its effects on a person's behavior and psyche. Sadness is important not only in the field of psychology but also in the field of linguistics. To the extent that Lakoff and Johnson have used it as the target area in their theory of conceptual metaphor Nezami poetry is also a poem that reflects human emotions and feelings. Emotions expressed in complex and ambiguous metaphorical language. Therefore, deciphering and understanding it can have a huge impact on the daily thinking and communication of the audience; because, according to Lakoff and Johnson, metaphors form an important part of our verbal communication. For this purpose, in the present research, with the descriptive-analytical methods based on the cognitive approach, the method of metaphorical conceptualization of grief emotion in the collection of poems of Panj ganj Nezami has been investigated. The purpose is that Nezami Ganjovi; with what skill has he depicted the abstract concept of grief? The findings of the research showed that the emotion of grief has given a special effect to military poems. In such a way that its frequency is high in some of his poems such as Khosrow and Shirin and Laily and Majnoun. To conceptualize sorrows whose source is mostly related to the loss of something valuable such as love and the death of a loved one, Nizami has used the field of various origins such as humans, plants, animals, and natural disasters.

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 Geoculture is one of the most prominent concepts that has emerged in the field of international politics and geopolitics after the Cold War, and it has highlighted the importance of the issue of culture in advancing political and economic goals in relations between different societies and nations. Accordingly, Iranian statesmen have also placed attention on the cultural sphere of Iran at the forefront of their cultural-political programs in order to achieve cultural convergence and interaction with neighboring countries. Despite ethnic differences, the geographical sphere of cultural Iran, due to its common components such as customs, religion, art, and literature, provides a suitable platform for the development of a common identity. Among the aforementioned components, the element of language and literature holds a special place in terms of attractiveness and persuasive power. Accordingly, in this context, we have conducted a descriptive-analytical study of Azerbaijani Turkish poetic literature in the oral literature section, especially focusing on Turkish bayats common among the people of Iran and Azerbaijan with common themes in the field of patriotism, in order to show that with a realistic perspective and proper planning in the field of poetry and literature, especially the literature of Iranian ethnic groups, due to ethnic commonalities with neighbors such as Azerbaijan, we can take solid steps towards convergence with neighboring countries and improve our cultural position and, consequently, our political and economic position in the region.

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Roman Jakobsen considered the difference between linguistic roles to result from the prominence of some communicational elements (Addresser, Addressee, Message, Content, Contact, and Codes). He believed that every message has several linguistic roles, usually one of which is more prominent. In literary texts, due to the complexity of the text, the multiplicity of layers, and the fluidity of signs, we are not only faced with a literary role. But, in addition to the formal enhancement of the text, rhetorical figures also interact with other linguistic roles and an intelligent use will cause proportion and conformity in the form and meaning of the text. This study has analyzed the interaction of form and content in Attar's Mantiq-ut-tayr using a descriptive-analytical method and concluded that Attar established a balanced relationship between rhetorical figures and the moral-mystical content of Mantiq-ut-tayr. He has used them to express specified themes and concepts based on their essence and literary function. For example, he has used “Poetical Reasoning” to explain educational and mystical issues, “Literary Collocation” to create thematic unity and textual coherence, and “Oxymoron” to illustrate the contradictory nature of mystical experiences and internal and external conflicts of mystics. The proper use of rhetorical figures according to the subject matter and content of the anecdotes of the Mantiq-ut-tayr has created a lot of beauty, influence, interaction, and harmony of form and content.
 

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This article, adopting a phenomenological approach and focusing on the fundamental concepts of Heidegger’s philosophy, provides an ontological analysis of a Khābnāmeh by Yaghma Jandaghi, centered on existential questions. It examines the representation of dream/death and being within the framework of Dasein’s experience. In Heideggerian philosophy, Dasein refers to the questioning being, continuously engaged in the pursuit of meaning and identity in relation to time, death, and other existential dimensions. In this study, dreams and sleep are considered not only as contexts for Dasein’s lived experience but also as liminal conditions between life and death, providing a field for the emergence of existential tensions. From a psychological and ontological perspective, these states offer an experience akin to a rupture from everyday life and an encounter with the most concealed aspects of human existence. Drawing on key Heideggerian concepts related to Dasein and fundamental ontology, such as “hiddenness,” “existential anxiety,” and “being-there/being-in-the-world,” the article demonstrates that dreams, conceived as death and as a figurative experience, position Dasein in a trajectory confronting the hidden dimensions of existence and self. Furthermore, Dasein’s internal conflicts during the processes of dreaming and waking reflect the fundamental tension between authentic and inauthentic possibilities of being, which can simultaneously be interpreted as a symbolic manifestation of the existential struggle between good and evil in Heidegger’s philosophy. Consequently, dreams in this work symbolically invite Dasein to confront truth, make existential choices, and recognize human limitations, thus facilitating a deeper understanding of being and human identity.

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Articles related to the Shahnameh and Ferdowsi have been analyzed from their inception (1915) up to the end of 2006 across several studies. These studies have pointed to the social contexts of the quantitative growth of the articles and the reasons for the rise and fall of Shahnameh studies; however, their main focus has been on the pathology and weaknesses concerning the subjects, content, and structure of the articles. The mentioned studies have paid less attention to the degree of innovation in these researches concerning research methods, hypotheses, and new findings—which are among the most important goals of scholarly articles. The present study examines two fundamental indicators of scholarly articles from 2007 to 2011 on the subject of the Shahnameh and Ferdowsi, aiming to investigate innovation in the main structure of these articles, namely the problem statement and research method. During the last five years of the 1380s (2000s), 210 scholarly articles were produced, categorized into nine thematic groups. In this study, using qualitative content analysis, the degree of innovation and scientific trendsetting of the articles were examined based on determined indicators. Among the mentioned thematic categories, "textual studies of the Shahnameh," "comparative studies of the Shahnameh with other works," and "character studies of the Shahnameh" have higher frequencies. Compared to previous periods, content and methodological deficiencies in the articles of the second half of the 1380s have decreased, and new perspectives and approaches have emerged, making these articles, especially in the "textual studies of the Shahnameh" section, trendsetters.
 

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Gaston Bachelard (1884-1962), a prominent French theorist, investigated imagination in literary texts by employing psychological interpretations and the archetypal elements of fire, water, air, and earth. Bachelard posited that while thought generates concepts, imagination produces images, asserting that humans engage in imagination pre-perception and pre-experience. He viewed literature and art as products of pure imagination, emphasizing the significance of imaginative images derived from the four elemental archetypes over cliché expressions. According to Bachelard, imagination originates in the unconscious, determining which element primarily shapes the author's thinking. Although an author may touch upon all four elements, a single element will typically dominate their imaginative realm. The unique application of these elements across poets is rooted in their distinct unconscious minds, comprising innate desires, childhood memories, and formative environments. Consequently, individual differences in material imagination arise from biological, experiential, sensory, and intellectual variations. This study applies Bachelard's theories on the material imagination of fire, as discussed in The Psychoanalysis of Fire and The Flame of a Candle, to the works of Forough Farrokhzad. Our analysis of Farrokhzad's poetry, specifically those works referencing these elements, reveals that fire is particularly salient in her early poems, symbolizing her intense romantic passion, emotional depth, and embodied love experiences

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The story of “Rostam and Shaghad” is one of the most technical and precise narratives in the Shahnameh. In this story, the most prominent hero, Rostam, is removed from the narrative flow. The interest and attachment to Rostam has caused Ferdowsi to show great sensitivity and obsession in removing him from the narrative path. In order to remove this national figure, Ferdowsi has had to spend a lot of linguistic and psychological precision in order to make his death with that greatness and invincibility appear reasonable. New criticism, as a concrete and systematic approach, attempts to show the verbal patterns, harmony, coherence, and internal connection of the components in a work by giving authenticity to the text.
The premise of the article is that Ferdowsi has tried to make the death of a hero like Rostam believable by using categories called “trust game” and “emotional deception”. Prepositions such as “charming”, “persuading”, “creating crisis and urgency”, “creating astonishment”, “transforming my story into ours”, “collusion”, “attracting trust”, “accelerating trust” and “conspiracy” make Rostam’s murder believable to a great extent. In this article, using the method of qualitative and precise description and analysis of the text, an attempt is made to evaluate Ferdowsi’s linguistic and psychological premises for the justification of the death of his great hero.