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Governmental systems and administrative organizations in Iran have been always in change throughout history. A position which was necessary in some centuries and was counted as an important governmental position was “Amirdadi”. The person who held this post was called Amir-e dad or Mirdad. Lexicographers have mentioned several different tasks for Amir-e dad. Some believe they are the same as chief judges. Some have considered them as the executers of the King’s commands in Mazalem (justice) days. And some others have assumed they are the administrators who were responsible for public affairs. Some also have mentioned them as ministers or administrators of the Ministry of Justice. In this article the researcher attempts to answer this essential question: What position did Amir-e dad have in old administrative organization and for which tasks he was responsible? This article consists of four sections: in section one, the word structure of Amir-e dad is studied. Section two analyzes the era in which this term was prevalent. Section three describes the tasks and positions of Amir-e dad in governmental systems in which this post had been officially recognized, on the basis of some available literary and historical evidences. Finally, in section four, some points are mentioned on the ceremony of Amirdadi empowering.

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In this paper, based on the contemporary theory of cognitive metaphor, the metaphoric functions of Jamal (Beauty) and the clusters of images related to it, namely the world, man, face, sun, mirror, etc. in Mawlavi's lyrics are explained. In theology, the motif of conceptual metaphor of Jamal is Ro'yat (vision). Finding its way into mysticism, "vision" is expressed in the metaphor of Beauty and thus the idea is conveyed through metaphoric language. Through the analyses of beauty as a metaphor and its related images in Masnavi and Divan-e Shams, we find out that "God is visible". This metaphoric idea is evident in the depth of the structure of the works. Accordingly, Mawlavi describes the Jamal-e-Haqq (the Beauty of God) through particular metaphors, such as Hosn-e-Yousof (the Beauty of Joseph), the world, the Perfect Man, the sun and food. Using these metaphors, Mawlavi proves that God is visible. In this paper attempt is made to analyze and explain the relationship between metaphor and ideology, and also to suggest a new reading of Persian poetry, especially in regard of mystical discourses.

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Feministic criticism concerns the function of specific feminine cultural and ideological constituents in literal works. In its approach to narrative this kind of criticism follows two methods. First, the attributes of women and their role and personality in course of the story, and second a critique of women presented which studies female authors. Sorkhi-e-to az man by Sepedeh Shamlu is one the feministic novels, which concerns the world of women in recent years. It has attracted the attention of many readers interested in Persian contemporary novel. Considering the importance of this novel in the process of feministic narrative writing of post-revolutionary Iran, this paper attempts to explore the elements of feministic narrative following an analytic-descriptive method. The findings of this paper show that this modern novel seeks to cast doubt on the differences of men and women through a deconstruction method. The female characters of the novel consider their identity and situation to be molded by imposed patriotic social relations, which are created by men and the dominance of masculine language. By considering the beliefs, worldviews, emotions, privet parts, women’s feelings of disgust and fear, lewdness, objection to masculine gaze, choosing short sentences, etc. in the text the researchers attempt to highlight the feminine style of writing.

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This study examines the narrative approach of Shahnameh by Ferdowsi based on Bakhtin’s dialogism. The logic of dialogue, a narrative that describes the relationship between different views through dialogue and interaction and considers dialogue as the only way of communication. Dialogism is supplemented by concepts such as "polyphony", "the other voice" and "Carnival". One of the necessary constituents of carnivalistic life is laughter. In Shahnameh there are three kinds of laughter, one of which is considered closer to Bakhtin’s laughter; it is a laughter that causes ridicule and humiliation. Other types of laughter are those of joy and an analogy of nature. In this article the carnivalistic laughter and laughter in Shahnameh are compared with each other to find out the correspondence between dialogism and Shahnameh. In this study, we attempt to study the word "laughter" and its derivatives in Shahnameh using descriptive-analytic method and evaluate it on the basis of Bakhtin's theory of dialogism, and also find out its similarities and differences with Bakhtin's carnivalistic laughter.

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The novel Malekan-e- Azab is the latest published work by Abu Torab-e Khosravi. The significance which is always assumed by Khosravi for words and writing is conspicuously seen in this novel as well; however, the author’s attempt to develop novel atmosphere and techniques has added a new dimension of complexity. To fully appreciate this complication and to gain an understanding of the discourse, we will investigate the deep structure of the novel and its affinity with the author’s technique, drawing on non-narrative elements, the implication of the signs and the binary contrast involved in the process of signification. The theme of the novel is a battle against Time. The technique of narration is multi-dimensional which is compatible with its deep structure. Given the significance of the association between words and creativity, the author has endeavored to develop a close connection between words and creativity and writing. In doing so, the author provides a circular portrayal of the characters. The realization of the characters by words and literary elements has induced a vivid image of the narrator by exploiting new indexicals which are constituted by the characters. The author’s novel technique to battle against Time is metamorphosis; the characters are realized as narrative indexicals and lead their lively life throughout the narrative. The symbolic elements of the narrative are closely interweaved with the circular structure of the characters and are so formulated to develop the deep structure of the narrative within a transformational framework.

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Among extant books of Sufis prose, the prose of Maqalat-e Shams-e Tabrizi has high and particular qualities. Its special language and the sensitivity that Shams shows in every point of his Maqalat regarding language makes us observe the dialectic between structure and meaning of language which is the results of forming a progressive prose compared to the prose of his contemporaries. Among the different functions of Shams’ language, metonymic function of prose has a special importance in Maqalat. Therefore, in order to discuss the form of Maqalat, in this article the metonymic language function is discussed, and in this way the theory of Roman Jakobson about metaphoric and metonymic pole of language has been used very much. Jakobson by accepting the theory of Saussure about the arbitrary aspects of language and also admitting two axes of replacing and companionship in language, adds that metonymy is formed by the relationship of proximity and companionship of words, but metaphor from the relationship of similarity in the replacement axis in language. By studying Maqalat we may conclude that its prose has used metonymy to present particular and special concepts.

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Mythology allocated a large part, fundamental and effectively to the human mind. The knowledge of mythology in fact recognizes the important infrastructure of ideas, culture and civilization. One of the most common ways to study mythology is to implement psychological ideas in mythology. The result is not only a better understanding of mythology, but also a better understanding of human psyche and man’s individual and collective life. In this study, we want to take advantage of Jung's theory of personality psychology to explore the myth of the creation of man in ancient Persian mythology. In this paper we refer to Jung's theory of personality psychology to explore human creation in ancient Persian myth. Carl Jung believed that in human there are two sexes together. Kiumarth, the first human in Persian mythology is a creature who denotes both a man and a woman: Mashya and Mashyana. The evolution of the first giant into the king-priest, the expansion of his character and finally his martyrdom are, according to Jung's theory, the steps that existed in the Persian myth of human creation. This article studies the human creation on the basis  of ancient Persian and the Middle Persian sources in the light of Jung's personality theory.

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In Early Modern Persian prose and verse, verbs with a present stem accompanied by grapheme "-y" have been used to express modal concepts of imperative and command or invocation and request. Researchers, regardless of the historical changes of Early Modern Persian, believe that this structure of  subjunctive 2^nd person singular has been used to express imperative mood, and that "bâyad" has been deleted from its beginning, and the ending "-y" in these verbs encodes 2^nd person singular. Reviewing the historical background of this structure and mentioning different moods with multiple evidence from Old Iranian languages as well as Zoroastrian Middle Persian, this article concludes that "-y" in the mentioned structure is the remnant of the optative-making morpheme, and that the structure of present stem accompanied by "-y" is the optative mood which indicates the concept of command or invocation.

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Styles in the normal course of historical development change and evolve, and in the process of this movement and change, some poets play a vital role. These poets try to be inventive in order to escape banality and repeated and shallow literary traditions, and by creating a rift between themselves and former traditions they introduce new elements.  These artists either create new figures or take an old but neglected one and develop it to give a special flavor to their personal style, or by introducing it to other poets they help in developing a new style. Hafiz is a good example of such artists. This article is an attempt to describe the figure "ambiguous metaphor of irony", as a mixed and already known figure (though unconsciously, not consciously), in the poetry of the poets before Hafiz, his role is highlighted in the rediscovery and serious development of this figure and its moderate use and finally its transference to the Indian style  where it had its highest development.

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In this article, the aim of the authors is to study the role of repetition in creating music and parallelism in Nimayee poems in the three collections of poems by Mehdi Akhavan Sales: Zamestan, Akhere Shahname and Az Avesta. Accordingly, the researchers have investigated the various manners of repetition in creating parallelism in the poems at three levels: phonological parallelism, lexical parallelism and syntactic parallelism. The present article tries to show that the musical parallelism in Akhavan’s Nimayee poems rises from the phonological, lexical and syntactic repetition. The authors found that their phonological parallelism was based on consonant and vowel repetition in sentences and also linguistic expressions, variety of rhythms and the poet’s innovation in using some Nimayee rhythms. Moreover, the repetition of words in different manners and the use of rhyme and range have created the lexical parallelism in Akhavan’s poems. Finally, employing some figures of speech syntagmatically and paradigmatically have created the syntactic parallelism in this poems.

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Literary texts are the product of individual unconscious psyche and collective consciousness. In Iranian mythology, Fereydoun and Zahhak are symbols of good and evil. This research is an attempt to demonstrate aspects of growth and decay according to Erich Fromm’s theories. It aims at finding aspects of growth (love of life, love of humanity, freedom from the archetypal Mother) and contrasting them with the manifestations of decay (love of death, narcissism, return to mother’s womb) in respectively the characters of Fereydoun and Zahhak in Shahnameh.

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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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Speech representation is one of the most important tools which is used by writers in writing narrative texts and specifically stories. Although direct and indirect speech, which are two speech representation categories, are familiar names in Persian language, speech representation has been neglected in Persian language. This article investigates and compares different speech representation categories used in Persian stories written before translation movement in Qajar era and stories written after this movement and assesses the frequency, functional and linguistic characteristics of each category. For this purpose, the Semino and Short’s model of speech representation (2004) which is based on Leech and Short’s model (1990) is used. The research data is elicited from 7 stories written before translation movement and other 7 stories written after this movement in equal volumes. Finally, we conclude that (free) direct speech is the most frequent category in the stories written before and after translation movement and this is because of the nature of this category in producing the effects of dramatization and vividness. Also, the high frequency of (free) direct speech in recent stories can be related to the key role of characters’ individuality in modern novels. Moreover, the use of (free) direct speech and narrator’s representation of speech acts as the speech representation categories have decreased during the time but the use of indirect speech and specifically free indirect speech have increased.

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Khaqani is one of the most important poets in Persian literature. His artistic personality is a complex character; he has worked on various branches of art and elegy is one of the main of these branches. Khaqani has composed over sixty elegies that are considered his masterpieces. His personal elegies are the most famous and the most artistically composed Persian elegies. Seven of these elegies he wrote on the death of his son, Rashid al-Din, which show his extreme sorrow and grief. The colours have a particular psychological impact on the images of these elegies. Khaqani with three colours (red, black and yellow) has created themes and poetic images in these elegies. These three colors are not present in these elegies randomly or accidentally, but according to the new psychology his choices stem from his unconscious. The present research studies the influence of colours and their psychological function in Khaqani's personal elegies on the death of his son, Rashid al-Din.

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Hojviri wrote his book Kashf al-Mahjub under the influence of sectarian and social developments and challenges in society and on the basis of his intellectual and religious backgrounds. Following an epistemological approach this article attempts to discuss his views on monotheism and some related issues, such as divine essence, attributes and vision. Moreover, epistemological analysis of Hojviri’s views on monotheism besides showing his opinion on the different levels of monotheism reveals his views on the on the effect of human knowledge on monotheism. It is also understood that he believes in the subsistence of the essence and he ascribes changing to attributes. In his opinion attributes are not self-dependent; as a result he believes that the attributes of God are dependent on His essence, both being ancient. This article not only shows that there is an epistemological relationship between monotheism and divine vision, it also explains that in the viewpoint of Hojviri the high level of vision leads to faith and divine unity.

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Parvin-e E`tesami, the daughter of Yousef E`tesami, was one of the eminent poets of the constitutional period. Her father, E`tesam al-Molk was a remarkable intellectual. He was one of the very first translators and one of the writers whose work started Romanticism in Iran in the last years of Qajar dynasty. He translated pieces from a vast range of topics and, thus, he had an undeniable role in the development of literature and also a modernist look towards life. As the time passed, the idea of Parvin imitating and taking from her father’s works became a widely cited view among the scholars. This research, by using a statistical-analytical method, has investigated the quality and quantity of this linkage in some points (such as diction, imagery, themes, characters) and shows that although Parvin, like any other poet, was influenced by many thoughts and ideas, for some clear reasons the strongest influence was that of her father. It is of course obvious that this influence does not mean mere imitation or plagiarism. The conclusion of this research is that the poet had some innovations in form, format and point of view that formed her special thought and style in poetry. This unique outlook, especially on the common issues of the day, is what indeed makes her a well-known and unforgettable poet.

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Binary oppositions are among the essential concepts and components of structuralism and linguistic and semiotic theories that are rooted in human ancient beliefs. One of the fundamental functions of the human mind is the creation of binary oppositions, which are seen in art and literature. The study of binary oppositions in literary works leads to a better understanding of them. This article is an attempt to discuss the binary oppositions in the lyrics of Attar Neishabouri. A close study of 100 chosen lyrics of Attar shows that many of the lyrics are formed by binary oppositions and even in some verses there are two, three, or four binary oppositions, as if binary oppositions are the driving force behind many of Attar's lyrics. The study of these lyrics shows that there are 843 cases of binary oppositions of which 47 percent (396 cases) are lexical, 35.5% (298 cases) are semantic, and 17.5 percent (149) are thematic. There are about 8.4 binary oppositions in every lyric which shows the great frequency of this type of diction. The main reason that Attar is interested in binary oppositions is that the poet is influenced by his unconscious, the importance he gives to moral and religious issues, his consideration of mystical concepts, the effect of the social environment and the his interest in aesthetics and music. In short, binary oppositions are considered as one of the stylistic characteristics of Attar's lyrics that have semantic and aesthetics functions.

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Literary works are the carriers of many regulations, values, norms, beliefs, structures and existential, cultural, and social aspects of their time. Many of the social and cultural realities of past centuries embedded within the extant literary works of those centuries can be identified and followed through. The critical approach in discourse analysis of literary texts provides a more precise knowledge of different cultural and social manifestations, life aspects, and people’s intellectual systems of the society of the authors of these works. The issue of economy is among social and cultural structures that has been less attended to in literary researches. The study of economic discourse in literary texts can also reveal other social, cultural, and intellectual discourses governing the temporal context of creating these works. This article deals with the critical analysis of economic discourse of the poems of Khaqani Shirvani. The goal is that following this approach to study the influence of this type of economic thought and the resulting culture on the linguistic, aesthetic, and intellectual structure manifested in Khaqani’s poetry and also to find out the reason why such a specific economic culture was dominant at that time. The result of this study indicates that the discourse of social hierarchy and luxury was dominant then and along with the power discourse resulting from wealth it had been naturalized and institutionalized in the economic culture of the time.

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Contemporary poetry can be divided into the poetry of before and after the Islamic Revolution. Among the post-revolutionary poetry, the Pishro or avant-garde Poetry is the most important style of poetry. The well-known figure of this kind of poetry is Reza Baraheni (1935- ) who became the most influential poet of the Post-Revolution Poetry with the publication of his Khetab be Parvane ha and introducing his literary ideas in different articles. Baraheni attempts in his poetic theory, which is known as lingual theory, to reach multilingualism in poetry, multiplicity of forms and language, disintegration of meaning, disintegration of narrative, disintegration of grammar, formalism, and disintegration of description. In the present study, topics such as morphological innovations and morphological and syntactic deviations in Khetab be Parvane ha are studied. As a result, deviations in these poems are divided into two: the successful linguistic part where Baraheni manages to bring some new words into Persian language without disturbing its morphological structure, and the unsuccessful syntactic part where all the rules governing the sentence have been disturbed.

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The concept of "other" is one of the fundamental concepts of philosophy, especially in the twentieth century and in the works of Husserl, Heidegger, Sartre and Levinas, which carriesepistemological and ontological importance. It was also introduced by Mikhail Bakhtin in the field of literature and literary theory. From another perspective, Naser Khosrow developed and introduced such a concept after joining the Ismaili sect, concerning an urban vision of religion, the ruler and the ruled, poetry, and philosophy. Accordingly, everyone steps beyond or below these lines was not exempt from Naser Khosrow’s satiric reproach. In this article the researcher explains the theoretical foundations of the concept “the other” and also the Naseri Utopia. Moreover, the researcher intends to describe and analyze the treatment of the poet of different classes and political, social, philosophical, and literary groups.