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The story of  “ An overly woman” is one of  the nine short stories of a story with the same title, which was first published at the time of the life of Jalal Al Ahmad, a contemporary author in 1331. The focus of all the stories of this collection are the women and the author criticizes their disasters and problems. This article studies the story of “An overly woman” from this collection from the viewpoint of the Deconstruction Criticism. The Deconstruction Criticism was based on the theory of Jacques Derrida (1930- 2004), the philosopher and the French theorist. This critique was first used in philosophy and then in literary critique. The basis for the Deconstruction Criticism is finding binary and hidden oppositions in the text; because by discovering these contrasts, you can find the secret and internal layers of the text. According to Jacques Derrida, intra-textual oppositions are hierarchical and staircase, and are preferred over the other, but studding the text, it is ultimately determined that none binary oppositions are preferred over the other and they actually complement each other. The Deconstruction Criticism is based on the review of accepted defaults and deconstructing of the textual contrasts. It delves whatever the reader should know into the text itself. Conflict in the story of “An overly woman” is between man and man in terms and man / woman in particular. After studding binary oppositions in the text and identifying hostile forces, it turns out that, contrary to what it is seemed in the early reading, the top pole in the text, which has formed the internal challenge of the text is not the wicked man against the oppressed woman, but two oppositions alongside each other form the story.
 

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The tree has a special importance in Persian poetry. Religious, mythological, moral, mystical and political cultural elements have propositions influenced by trees. After water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. With the emergence of various political events in the last century, on the one hand, and the creation of many ideas and artistic styles, on the other hand, the creative ways of connecting natural phenomena with human elements are highlighted. The image of the tree in the new poem finds a new and multifaceted expression. Modernist poets give special roles to non-human elements, and from this middle, the tree of human-like kinship is the one that shows the evolution of human society in its stature. By analyzing and describing the poetic evidence in a library method, it is revealed in the thought of the selected poets that the tree is a diagram of personal failures, love, a medium of perception, an indicator of freedom, an indicator of the ecosystem, symbolism, the image of death and friendship, reflection Tyranny and denial of human existence in the rule of tyranny.
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 The issue of "subject" is the most important indicator of the distinction between classical and modern literature. "I" in classical literature is often general and abstract, but in contemporary literature, following modern philosophy, I is individualized and concrete, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the "subject". Contemporary poetry, from its most superficial romantic aspect to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human-centered.Ahmad Shamlou is one of the poets whose"I" is subject in his poetry. This research deals with the hermeneutics of self/subject in his poetry by the method of qualitative content analysis and critical reading, by studying the collection of Shamlou's poems and selecting suggestive examples. Since this I/Self/Subject has been subjected to turbulences and changes during the six decades of writing poetry, the theoretical support of the discussion is based on these developments, and also deals with the philosophical subject which emphasizes on individual thought and consciousness. and to a subject that is a social construct; That is why it is a compilation of the theoretical support of the article is a synthesis of Michel Foucault's discussions about the hermeneutics of self and governing oneself and others, the theory of symbolic interaction that deals with the individual I and Me, the theory of existentialism that focuses on freedom, choice and responsibility. Finally, because "I" in Shamlou's political poetry is as an ideological pseudo-subject under submission of the Tudeh party, but in his philosophical poetry, the result of knowledge and awareness based on his own lived experience, and thinking on existence, man, life and death, as the supreme subject (Subject), which leads to the formation of the subject in Althusser's view.

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The main problem is to attend to one aspect and neglect the other aspects. Despite the efforts of Muslim scholars in these works, the research on metonymy have not received much attention. Therefore, while dealing with the transition of metonymy studies in the works of Muslim theologians, the present research has investigated this issue from different perspectives in rhetorical books. The results show that although logocentrism, the intermingling of different domains, abstract theological topics, unnecessary divisions, disregard for the functional aspect of language, overlapping types of metonymy, and repetition of the content are the main research problems of this kind, the theory of scientists such as Jorjani and Khatib Qazvini about the aspects of information, pragmatics and the context in the metonymy field should not be ignored. Also, the divisions proposed in these works, such as its categorization by metonymy (metalepsis) and the compound metonymy, along with their subfields, are significant.

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 Proverbs are a cultural tool that, due to their compactness and special phonetic and literary patterns, can destroy the intellectual resistance of the audience and impose a kind of conceptual and expressive tyranny on them. The cultural semiotics of Persian proverbs shows that gender discrimination and reducing the status of women is rooted in cultural standards and norms. In many proverbs, women are considered "other and marginal" and men are considered "self and center". Using analytical, descriptive and qualitative methods, this article criticizes a number of gender proverbs with emphasis on cultural semiotics in order to show, along with pathology, that the dual opposition of "man" and "woman" How has it influenced and caused components such as "patriarchy", "marriage", "reproduction", "appearance beauty", "male economy", "mental strength", "leadership and management" etc. So that the woman is placed in the "margin" and the man in the "center" of the cultural text. The cultural semiotic analysis of proverbs shows the fact that being a "woman" is a product of patriarchal ideology; A thought that consciously seeks to be the "other" woman. This thinking removes women from the social scene with hidden control and repression and seeks their "symbolic annihilation".
 
 

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 The present research, with an interdisciplinary approach, examines the role of architectural elements in the surreal stories of the blind owl and the prince of Ihtjab. Each of the architectural elements has its own specific definition and function, which shape the physical space and, in other words, create a space limited to time and place. But the content of these elements with their implicit meaning can create spaces that are not limited to time and place. Since the purpose of this research is to investigate the effect of architectural elements in creating the atmosphere of a surreal story; First, the architectural elements in the stories have been extracted, and based on comparative studies, their meaning beyond their physical aspect has been examined with the analytical-descriptive method, and finally their role in creating the surreal atmosphere of this story. It has been revealed. The Blind Owl can be considered the most important work of Sadegh Hedayat; In this story, architectural elements, including the storyteller's house and the mentioned buildings, have played a very important role in creating the atmosphere. In the story of Shahzad Ehtjab, the narrator of the story remembers in his personal room on the last night of his life, the surreal atmosphere of the story is formed by the room and the elements in it. With a deeper investigation, it can be said that the architectural elements in the room play an essential role in expressing the narrator's personal situations, recognizing the weaknesses and fears of the narrator.
 

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Haft-Xwân/Xâns of Rostam and Esfandiyâr are among the parts of Shahnameh, which have received a lot of public and special attention in the long history after the composition of this work. Contrary to the traditional spelling used for this series of battles of warriors in most manuscripts of the Shahnameh and most Persian works, some contemporary researchers with this argument that in these battles, the warrior goes through seven stages, believe that the correct form of this name should be without waw and it should be written in the form of Haft-Xân. Some have also considered the second part of this word (= Xwân) to be a table with this pretext that Esfandiyâr sits on feasts after every battle. This last opinion has been rightly criticized and rejected, but the first one has been approved by all the researchers. In this article, after measuring the validity of the evidence of this opinion and with the approach of historical linguistics, a different opinion, but compatible with the internal content of this series of battles, will be presented. In this interpretation, considering Haft-Xwân form to be original and presenting a new derivation for Xwân, the meaning of “battle and struggle” has been proposed for this word.

 

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For Kristeva all texts are results of a textual network before themselves. So, in order for decoding a text, one must take the textual network into consideration. Authors and poets have always benefited from texts before themselves. This is sometimes done as legendism which is nothing but a kind of rewriting and recreating legends and does not help literature much. However, “legend-turning” has another approach which can be a cause for literary evolution.  Legend-turning does not just refer to legends in a manner of allusion and referencing, but deconstructs the texts of the past by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of a piece of text. In the novel Spells, we are faced with three methods: Legend-telling, legendism, and legend-turning. In The Blind Owl, too, the writer has deconstructed the text of the past through use of multiple legends and myths. A conclusion of this study is that both novels have benefitted from legends in opposition to legends. This article examines the two novels based on legend-turning or legendary intertextuality.
 

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Searching about the beginning of Sufism in different regions of Iran is an important issue that has received less attention. Due to the division of Sufism into two currents of Iraqi mysticism and Khorasan mysticism and paying attention to the Sufis of these two regions, Other Sufi attitudes were neglected in the rest of the regions. Fars and Shiraz was one of the areas that was neglected. It seems that the presence of more than eighty sheikhs of Sufism in Fars and Shiraz before the appearance of Ibn Khafif and the remarkable growth of Sufism in this region, shows the necessity of investigating about the beginning and development of Sufism in this region. In this research, the names of forty-three Sheikhs of Shiraz who lived before Ibn Khafif or are his contemporaries were extracted and their mystical worldview was analyzed as much as possible based on the little remaining information. From the analysis and explanation of the mystical attitude of these forty-three Sufis, it was found that four main Sufi currents can be seen in this period: First, the flow of asceticism and seclusion, which is the primary form of Sufism, second The flow of the Iraqi school of mysticism, third movement of the Khorasan school of mysticism, and fourth The flow of creators of the Shiraz school of mysticism.
The analysis of the numbers shows that in Fars the sheikhs of the Shiraz school predominate and other currents play a lesser role.
 

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The controversy over Nima's literary theory and poetry has a long history. Literary critics, each of them, supported Nima and presented a special interpretation of him. The problem of this research will be to read the opinions of Barahani and Pournamdarians of the seventies as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani made mistakes in their understanding of Nima and sometimes they went too far in their opinions. Despite all this, it can be said that despite trying to understand Nima in a new way, Pournamdarian is still trapped by the stereotyped traditions of literary criticism, which makes him define new poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of Nima's theorizing and poetry, has gone to extremes in some of his opinions and announces a crisis that we can see in the poetry of the seventies. In other words, tradition and modernity are clearly incompatible in the opinions of these two critics. Pournamdarian wants to mix modern poetry with traditional criticism, and Barahani becomes dogmatic in his criticism.
 

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  Mohammad Ali Foroughi is considered one of the famous contemporary men in politics, culture and law. His two political and cultural aspects have caused him to correspond with many educated friends about these issues. Due to Foroughi's familiarity with ancient literature and attachment to Iranian culture, his letters have been influenced by the structures of his predecessors in addition to ancient literary works. Looking at these correspondences, one can see the influence of Farahani's letters in them. It is worth mentioning that while imitating the style of Ghaem Magham, he had innovations in his letters. This issue, article aims to reveal the extent of Foroughi's innovation and influence on Ghaem Magham`s letters by considering Ghaem Magham`s letters as an example of the return style. For this purpose, in this research, 11 letters from Foroughi's letters, collected in the Zoka-ul-Mulk's policy book, and 11 letters from Ghaem Magham institutions, which were written in three fields of friendship, politics and social; Have been analysed. By examining these letters, it was found that although Foroughi was influenced by the letter structure, literary techniques, and linguistic features of Farahani's letters, he made innovations in the field of content and concepts. Zakaul-Molk's innovations can be seen in combining the retro style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the needs of the times and people's understanding. Therefore, besides being influenced by the return style, he has overcome its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the two goals of attracting the audience's attention in the direction of promoting Persian culture and literature and conveying modern concepts along with reports on current issues of the society. In his political and social letters, we see imitation of difficult literary-historical texts; However, his friendly correspondences are very tender and heartwarming due to the imitation of lyrical texts. So reading these letters gives the reader more literary pleasure than social letters.

 

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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.
 

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Purpose:
This article seeks to critique the elitism found in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it analyzes and carries out a deconstructionist reading of Jalal Al-e-Ahmad's story titled Farewell from the collection Three Strings. The book contains 13 stories of Al-e-Ahmad and was published in 1948.
Methodology: This reading is made possible with an emphasis on the French philosopher Jacques Derrida's perspective and applies the eight-step strategy of David Boje as a critical postmodern analysis strategy regarding the narrative. David Boje's method includes duality search, reinterpreting the hierarchy, rebel voices, the other side of the story, denying the plot, finding the exception, stating what is between the lines, and resituating. The article follows each of these steps in order to bring about the deconstructionist reading of the story.
Findings:
After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchal dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted in a way that the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced by a tragic one, exceptions were found, and between the lines was read. After doing all the 7 steps, the new narrative was made possible.
Conclusion:
The article concludes that by using David Boje’s strategy and by adopting Jacques Derrida’s deconstructionist approach to read Jalal Al-e-Ahamd’s story titled Farewell, a new narrative was brought about that makes possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s decades. It is important to note that it is necessary to go beyond the person of Al-e-Ahmad and to get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative produced by the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts itself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to act to accomplish what it calls an intellectual mission.

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Abstract
Bidel uses poetry to express his mentality. Looking at the natural phenomena and describing the elements of nature, the course of his radical thoughts is outflowing. Because his mind is filled with mystic meanings and concepts when he looks at things, everything will take the color and smell of mysticism, and flow into his language. He considers ‘art’ to have perfection and ethical virtues and by its help, he expresses the capabilities of man and the nature around him.
With an analytical lens, we intend to look at the place of “Mountain” in Bidel's Masnava "Tur Marafat". We are going to discover and examine the images in which the natural element of the mountain is artistically linked with mystical concepts and meanings. The research method in this paper is documentary, library facilities using content analysis, and data classification. In this research, through the discovery and classification of images, we will reach the significance of the ‘mountain’ icon in the "Tur Marafat" of Bidel, and get mystical hidden meanings in that. Also, the cohesion and integrity of the text will become apparent through the matching of the mountain icon with a motif. We will see that the hidden concepts behind the symbols of water, fire, and soil, in a coherent set, would show the mystical transcendental movement from Bidel’s perspective from the lowest to the highest place, and would have a conceptual relation to the ‘mountain’.
 

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In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.

 

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The Persian translation of “The Adventures of Hajji Baba of Ispahan” by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation and other fields of humanities have studied its various aspects. However, so far, there has been no research that studies the reception of this translation by the Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the receptions of the Persian translation that were discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods of time, the Persian translation of “The Adventures of Hajji Baba of Ispahan” was of interest to the literary taste and in accordance with the expectations of the readers, including writers, critics, and researchers, and it still continues to be widely received by the readers, which has made this work enduring and popular.

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The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
 

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The numbering system is one of the most important and challenging components of inline systems. This challenge is two-dimensional and is not simply written in numbers. The challenge of number writing, on the one hand, comes back to the nature of numbers and their existence in each language, which itself is the result of the different attitude of each lineage to existence, and the second dimension of the challenge of number writing is related to the way of writing numerical entities in each language. Therefore, even though numerology is a phenomenon in the field of writing or writing, it cannot be considered a purely linear phenomenon, but to describe the numerology system, it is necessary to pay attention to the type of attitude and vision of people and nations towards existence and especially the mythological foundations of the vision of each nation. to be Middle Persian is no exception to this approach, and one of the neglected requirements to answer the ambiguities of the Middle Persian numeration system is the same attention to qualitative matters, especially the mythological beliefs of Iranians. In this article, in continuation of the valuable efforts that have been made so far to compile and describe the Middle Persian numeral system, other considerations about this system are proposed, and the answers to some uncertainties still existing in the Middle Persian numeral system are discussed during these considerations. Also, some of the remnants and reflections of this system are tracked in the New Persian language and script, which on the one hand helps to compile the Middle Persian numeral system and on the other hand, facilitates the understanding of New Persian words and texts. The findings of the article show that it is possible to describe the Middle Persian numerology system, and in this work, taking help from the mythological foundations of Iranian thought is a way-opener and important, of course, this article ultimately does not mean the formulation of the Middle Persian numerology system, and further, considerations and There are suggestions for developing this system.
 

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Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world.  However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.
 

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Language reformation is one of the most controversial reformations in the process of modernization. In this regard, language engineering is considered as a risky social-political experimentation in any country. In Iran, The Berliners, an influential school of thought in Iranian intellectualism, were the pioneer of the reformation of Farsi. Through their activities including treatises, journals, and conferences in Iran and Europe, they formed the most active intellectual group of Iranian immigrants in the contemporary time. Exploring their publications reveals they have adopted a pathological approach to language-related problems and have proposed practical and reformational solutions to problems. Their publications took a moderate policy to describing the challenges faced by Farsi and criticizing the reformation of Farsi. Regarding the importance of The Berliners and their publications in the modernization of Farsi, the present paper explores the role of the publications made by The Berliners on language engineering in Iran.