فهرست مطالب محمد رضا نصر اصفهانی

A quintessential element in Nizami’s oeuvre is the correspondence between the characters’ articulation and discursive features. In other words, one can explore different layers of their subjectivity in light of their articulation. In this respect, this study investigates Nizami’s Iqbal-Nameh. When Alexander instructs his three advisors, Aristotle, Plato, and Socrates, to compile “Kherad-Nameh,” their individual formulation echoes their position and personality. This study aims to investigate the three advisors’ divergence of discourse in light of Fairclough's 3D model. He analyses the discourse in three levels: description, interpretation, and explanation. The description level is a textual analysis, the interpretation level is a contextual and intertextual analysis, and the explanation level is a socio-cultural analysis. This study concludes that in formulating “Kherad-Nameh,” Plato’s discourse is informed by his position beneath the king, Aristotle’s assertive discourse is informed by equating his position with the king, and Socrates’ authoritative/degrading discourse is informed by positioning himself above the king.

Supplying the energy demanded by spacecraft and satellites is an ever-increasing need. As a result, it is an active field in developing space technologies. In addition to the commonly used rigid substrate solar arrays, flexible substrate and concentrator solar arrays are other available categories. This paper reviewed the developments and commercial technologies in each category. The flexible solar arrays, implemented in several spacecraft during the last two decades, have recently attracted attention in satellites. It seems that these arrays will replace rigid arrays in the near term due to their higher specific power and smaller stow volume than rigid arrays.

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, its semantic layers and analysis. Among women, Leyli's face is an important figure in Persian poetry, both classical and contemporary. One of the most prominent and important symbols of the lover in Persian poetry, Leyli, the reflection of her face in contemporary poetry is examined in this research by focusing on the poems of Hossein Manzavi, Nusrat Rahmani and Forough Farrokhzad. The main question of the research is how Leyli, as the most important mythical female character in Persian literature, is reflected in contemporary poetry and what her relationship with the real face of women is in our times.In so doing, after reading the most important poems in which the character of Leyli is present, the poems will be analyzed from the point of view of myth analysis. Myth analysis is an approach in which the influence of the author's personal life is examined along with contextual-textual research in the sense of historical and social influences in the creation of the work. The findings of the research show that all three poets selected in this research have had a different look at the myth of Leyli and the function of myths in contemporary poetry is different from the function of myth in traditional poetry.

One of the cases of the use of Contradiction and Paradox in literary works is the description of the lover and the beloved, Because the power of love is beyond what can flow in the normal speech of the language. To describe the concept of love poets and writers go beyond ordinary language to better express the state of the lover and the beloved. In this research, an attempt has been made to answer this question by using critical discourse analysis and Fairclough's three-dimensional model, what is the role and position of Contradiction and Paradox in expressing the state of the lover and the beloved .The result of the research is that Contradiction and Paradox are evident at all levels of Fairclough's theory. The use of Contradiction and Paradox to express the state of the lover is more than the beloved. The gender difference makes the poet use different methods of contradiction and paradox to describe the lover and the beloved. The male sex has more power than the female, and the poet uses a more obvious contrast, But because revealing the issues of love for the female gender is against the custom, he uses contrast

In the 20th century, Lucien Goldman proposed one of the most effective theories in the field of sociological criticism, namely the theory of developmental constructionism. Among Goldman's central concepts to explain this theory are the two concepts of ‘meaningful structure’ and ‘worldview’. The meaningful structure shows the interrelationship of the components of a literary work and the worldview of a meaningful whole of norms and values. One of the works that the application of the theory of developmental constructionism is useful in its better understanding is Mehr va Mah poem, due to having a coherent structural pattern. This poem is one of the outstanding works of the 10th-century poet Jamali Dehlavi. In this regard, the present study seeks to answer the question of how the meaningful structure and worldview of Mehr va Mah is in line with the inclusive social platforms of the work. Examining this poem in the framework of the theory of developmental constructivism shows that the main social bases of the poet's era in the conceptual system, spatial elements, the systematic pattern of character relationships and the aesthetic field of the system are the creators of its meaningful structure. They have appeared as artistic creations - not a mirror reflection of social events. These elements in a dialectic relationship with each other show the worldview governing the work.

Critical discourse analysis is one of the effective theories for analyzing the hidden layers of language and discourse. One of the main components for expressing the discourse goals is power. A famous theorist in the field of critical discourse analysis is Norman Fairclough who believes that power has an effect on social relations and discourse. In this research, an attempt has been made to explain the power in Khosrow and Shirin systems using a three-dimensional model of Fairclough. The main hypothesis of this research was that Nezami in Khosrow and Shirin has created a discourse appropriate to the power and social status of each character. Analyzing the poems of Khosrow and Shirin, it became clear that the different uses of words, the use of linguistic and grammatical aspects, the differences in persuasive methods, the different views of the characters in the story, and the ambiguity in speech depend on the difference in unequal power in the poems of Khosrow and Shirin.

Anodizing is a common method for increasing the adhesion of aluminum surfaces. However, if we heat the manufactured products before adhering due to the hydration of the anodized coating, cracking, and morphological changes, the adhesive capacity will be greatly reduced. As part of the research presented in this study, methods such as non-sealing of the anodize, primer application before heating the coating, sandblasting before and after the anodizing coating, and use of FPL (Forest Products Laboratory) replacement coating have been used to investigate the adhesive behavior of the coating. According to the results, not sealing the anodized coating and priming it before heating will increase the adhesiveness of the coating in all cases. Sandblasting after coating had no significant impact on adhesion. Sandblasting before anodizing improves adhesion by altering the texture of roughness and morphology. FPL can also be used to replace anodized coatings. They were less sensitive to heating and storage.

In casting, one way to reduce hot tearing is by modifying the microstructure. In this study, the microstructure of A206 alloy was modified using a melt shearing process at various times, and the effect of melt shearing time on hot tearing behaviour was analyzed. A steel chamber with two baffles and a spiral stirrer was used to apply shear stress to the melt. The sheared melt was then cast in a graphite mold in the form of a constrained rod, and optical and SEM microscopes were utilized to investigate grain size. To evaluate the susceptibility to hot tearing, the quantity of crack length density was used as a criterion. The results revealed that melt shearing process reduces the size of shrinkage pores, making it harder to initiate hot tearing, and increases the alloy's resistance against hot tearing. Also, due to decreasing the size of shrinkage pores, the ultimate strength is increased up to 57%. As the melt shearing time increased up to 3 minutes, the as-cast microstructure became less uniform; however, after 3 minutes, the microstructure became significantly more uniform. Additionally, the grain size decreased up to 37%, and the rate of this decrease accelerated after 3 minutes, leading to an increase in resistance to hot tearing. The decrease in grain size due to melt shearing caused an increase in the number of grain boundaries and a reduction in the thickness of the grain boundary precipitation layer, resulting in a softer behaviour observed on the fracture surface.

The novel is a plot of life that narrates a period of time and the culture of the society in a narrative way, describing the passages and difficulties of life by situating characters and events. This description is accompanied by a presentation of the life plan. Women as part of society, life, and culture have contributed to the development of the narrative, and what has been shown to them is the idealistic, critical, or corrective view of the author. One of the most prominent narrative novels of the last hundred years in Iran, the novel of Keleydar features women such as Balqis, Zivar, Maral, and Shirou trying to put women in front of men and make life meaningful. Dolatabadi has used the theory of community representation in storytelling and has shown less critical, corrective, and idealistic perspectives that have made the educational part of the story difficult. This study criticizes the position of women in the novel of Keyler, expressing deficiencies and disregarding the teachings of critics such as Goldman and Barth, which has seriously challenged the novel's inspiring position.

This study aims to investigate and analyze the consequences of trauma through the lens provided by Slavoj Žižek. He believes that the unexpected intrusion of the Real into the Symbolic order is called trauma, which gains meaning only in retrospect. Different subjects respond differently to a trauma. According to LaCapra, the usual responses of subjects to trauma are “acting out” and “working through”. The process of “acting out” contains traumatic symptoms including arousal, intrusion and constriction. But by “working through”, the subject tries to come to terms with the traumatic experience and the related loss through mourning. Žižek contends that the continuum of various reactions to trauma ends with the birth of a new subject known as the post-traumatic subject. The prominent consequence of indirect experience of a traumatic event is that an external crisis leads to an internal one, since trauma operates retroactively and attenuates the successful functioning of signification. Therefore, trauma becomes a disorder which entails traumatic symptoms that affect identity and meaning.

Sublime and subtile examples of Persian poetry such as Sa’di's fluent poems  or even Hafez's poetry, despite its complexities of the structure and hidden meanings, are usually pleasant, beautiful and completely understandable. In general the desire to discover the secret of this charm and greatness of the works of such classical authors in the East and the West has always aroused the curiosity of the researchers of language and the literary critics in the world.  They have studied this problem of poetry, since ancient times till today from various perspectives such as literary schools, rhetoric or literary theory hoping to discover perhaps the most fundamental secrets of the glory of poetic discourse.Although Saadi and Hafez have their own poetics, Hafez's, resemblance and closeness to  Sa’di is so obvious that sometimes  they have been studied together in numerous studies. 

  The literary researchers, in their poetic studies have always tried to discover the most exact points about the form and meaning in poetry with a meticulousness regard in the subtleties of poetic language. They have tried then to name, analyze and classify these unknown mysteries of its magic. At last, they have recorded the collection of their knowledge in the branches of literary knowledge and theories. Based on these foundations we have tried to find and explain some incidents of imperceptible artistic devices in the poetry of Sa’di and Hafez, analyzed from a functionalistic view.Although the most important principle of the literary and artistic view in this article is to rely on the role and function that plays the elements and techniques in achieving the main goal of the work of art. Just as in the art of painting that all the elements of design, drawing, coloring glazing and lighting must serve the ultimate goal and the main purpose of the final oeuvre, the same principle is valid in poetry. From this point of view, the most fundamental neglect in the rhetorical and literary analysis of poetry is when the mere existence of poetic forms and literary figurers of speech is considered valuable and beautiful. In addition to it the lavish and bountiful terms to naming these artistic devices create a delusion.Another important principle is remembering that   the brilliance of the artistic function of the literary devices has different degrees in different poems, but in certain cases, with a seemingly simple linguistic device, it is possible to writing the miraculous associations in the poem, which creates colorful and wonderful auras of meaning around a verse.  Review of literatureUndoubtedly, the source of the ideas presented in this article, inspired and benefiting from the literary and linguistic teachings, is due to respected pioneers and promoters of literary and linguistic research in the world and Iran, and also the writers of a great number of books and articles written about the poetry of Sa’di and Hafez. They have been the source of inspiration for this article in general. The collection of this vast background, both in the field of literary theory, linguistics, and practical research, especially in the field of poetry of Sa’di and Hafez, is so extensive that it is not possible to mention even the names of a small part of them in this short space. However, none of examples of Sa’di and Hafez's poetry and their specific functionalist analysis in the present article are taken from the writings of others, because all of them are the result of the gradual achievement of the author's years of teaching and research. 

In the present paper after explaining the generalities and theoretical principles, the following questions are discussed in detail:The method of functionalist analysis of new artistic arrangements in the poetry of Sa’di and HafezAn example of functionalist analysis of the literary industry in Hafez's poetryThe necessity of searching and analyzing the hidden and invisible artistic devices in poetryAn example of invisible artistic devices in Sa’di’s poetryAn example of invisible artistic devices in Hafez's poetryCodification of theoretical foundations of artistic functionalist analysis in poetryComplete functionalist analysis of a short work in Sa’di’s poetryAs can be seen in the above titles, first the purpose of functionalist analysis method to find invisible arrangements in the poetry of these two poets of Shiraz is explained and then some examples of them are provided. After that, the importance and necessity of this task in terms of better understanding the poetry of Sa’di and Hafez has been discussed. Then based on these topics and their poetical examples, an attempt has been made to formulate the theoretical foundations of functionalist artistic analysis. Finally as an actual example, a short poem by Sa’di has been analyzed according to these principles and general principles in order to show in practice the value and efficiency of this new method in poetry analysis.

Nowadays this idea is spreading that by using a new perspective and having a deeper understanding of the oeuvres and the ideas of ancient poets, it is possible to reveal the secrets and mysteries of pleasant and beautiful poems such as the works of Sa’di and Hafez. Theoretical discussions and practical analysis of examples presented in the present paper show that merely raising this issue is not enough to achieve tangible results and objective achievements. Achieving such a goal requires a coherent theory and the clear formulation of principles and a methodical way of studying the poems.It seems that the introductory plan based on theoretical foundations and practical examples presented in this article can potentially be applied to the poetry and even prose of other great figures of Persian literature, especially if each poet's special needs and occasions are considered.   

Suspension and prospect both are elements of fiction literature, obliging the audience to continue the process of reading the story. This technique is mostly used in modern stories. It is also the most outstanding matter for making attraction and delisting the text for the reader. This research is a survey of suspension in the novel Anna Karenina by Leon Tolstoy, a well-known Russian thinker and novelist in the 19th century. Anna Karenina belongs to the perfect period of Tolstoy, especially after the period of the novel War and Peace. It is a story about the life of a lady named "Anna" who falls in mortal love after her marriage and having a child. She left her family because of her love and made some events as a result. We try to explain Anna's social position from the point of ethical and familial behavior in the text of Tolstoy. This research is descriptive and analytical. The factors causing the suspension are classified into two linguistic and non-linguistic sections, and then they are analyzed.   1- The main elements of the suspension  Good writing is a collection of images and the use of writing tricks. A successful writer has a strong imagination and uses such techniques correctly because, between the right and wrong use of these tricks, the border is narrow.  There is a possibility that the text may be vulgarized at any time by using them inappropriately or in excess. Suspension elements can be divided into two groups: linguistic elements and non-linguistic elements (each of which is divided into sub-sections):  A) Linguistic elements: short sentences and answers, repetition of a word or sentence, ambiguous use of language  B) Non-linguistic elements: rapid return to the past or future, step by step intensifying the conflict of the story, conflict and confrontation, sudden change of character, fear of an accident or the future, unusual plot or acting contrary to expectations, expectation and fear, symbols and signs Anna Karenina: The story takes place in several aristocratic Russian families of the 19th century when princes held a high position in society and aristocratic customs were considered the most important factor of social principle.  The main plot of the story is the adventure of Anna Arkadyonna's love.  She is the wife of Alexei Karenin, a Russian aristocrat, and falls in love with Alexei Krylovich Vronsky, a young army officer and the son of a St. Petersburg aristocrat.    2- Suspension in the novel Anna Karenina  1-2. Asking a general ambiguous theory or question  The author challenges the reader by asking a general question or a general theory, and raises many questions and draws him in. 2-2. Ambiguity and suspension in the character  Anna, Vronsky, Loin, Katie, Loin's mother (absent character) 3-2. Suspension in the accident This kind of fictive suspension happens through accidents as is the case with the death of a worker at a train station where Anna and Vronsky meet for the first time. Bringing this topic at first seemed pointless to the reader, while it was a prelude to expressing the nature of Anna's death and the end of Anna and Vronsky's love where it began. 4-2. Suspension in the plot  Sometimes the events and their causes are unexpected for the reader. In their opinion, it is unreasonable and irrational because, in the real world, such conditions are impossible or rare. 5-2. Suspension in space and mood  By describing a stressful and ambiguous space, the author could also convey the atmosphre to the reader. This atmosphere often becomes heavier when a character wants to make a decision or do something and encourages the reader to continue. 6-2. Suspension in place  Sometimes the reader realizes and follows this secret in the places of events from the content of the author's words. The main suspense frequency of the story (suspension in the form), like other masterpieces in the world, was related to the superstructure and movement of narratives, narrative action, and the characters' complexity. There is, of course, a kind of content and intellectual suspension throughout the story, which happens in a problem or question form.  This model of fictive suspension is shown through characters who have Tolstoy ideas. The story's theme is love, about a woman who has children and belongs to a believing family. The story is complex because of the actions and behaviors performed by Anna, her husband, and her lover.

perdition and survival, enjoying a special status in Islamic mysticism, are important issues in the first mystical tradition and are manifested in the works of poets and mystics in various forms. Each of the mystics has tried to express these two issues based on their personal experience. Sanai, the great poet and mystic of the sixth century AH, is no exception. This research has tried to focus on Perdition and survival from Sanai's point of view. In the first mystical tradition, man and God are two distinct beings whose essence, attributes, and actions dissolve into one another. Perdition and survival are divided in two general categories: inwardness and appearance. In Perdition, the mystic willingly loses his existence and returns to god, the eternal.  Perdition is a prelude to survival. Here, human being is endowed with the attributes of God and achieves true eternal survival. In this research, documentary-library and descriptive-analytical methods were used. First, notes were taken of the issues related to the perdition and survival. Then, they are analyzed and explained. To the best knowledge of the researcher, this is the first time that Sanai's view on perdition and survival, their types, varieties and status have been scrutinized. He enumerates the perdition and survival of the appearance and interior, assigns degrees to each, and confers the highest degree to the perdition of the essence, being dissolved into the essence of truth. At this stage, all gaps (veils) are removed.

Semantics is an approach which contribute to view the lexis precisely and analyze the meaning of the words. Tavern(kharabat) is a term with a peculiar position in mysticism by different meanings. Sanayi the mystic poet of sixth century, he was the first one to express the mystical issues seriously in the form poetry and to utilize the tavern term as a key words in his poets in term of mystic. Variant definitions and frequency of the tavern, make it as one of the key words in mystic literatures which conduce to study and analyze the concept and meaning of it. As Sanayi is the first poet who has described mystics concepts in verse and has defined it as a new term, it`s important to utilize the tavern in his poems semantically. He has used the tavern 100 items in his opuses. This research tries to express the view of Sanayi about tavern term by means of synchrony and diachrony in semantic. He not only has used this term as its basic meaning , but also has defined it a relative meaning and mystic concept.

Semantics is the knowledge by which the meaning of words and phrases can be studied and is helpful in understanding the exact meaning of a word. According to the semantic system and vocabulary in which a word is placed, its meaning and significance are determined and its use and frequency determine the importance and exact position of the word.. The high frequency of the word Zohd (asceticism) in mystical texts has made it one of the most important keywords. Sanaei, a poet of the sixth century AH, first arranged mystical concepts and san in the language of poetry. Asceticism is one of the most important mystical concepts that Sanaei has expressed in his poems. As the word asceticism is one of the keywords in his works,  the semantics study of asceticism in his works is especially important. The authors of this study intend to use the semantic method to explain Sanai's view on asceticism and show the exact meaning of this word in his works. The semantic analysis of the word asceticism showed that Sanai did not use the word asceticism in its original meaning; rather,he gave it a relative and new meaningwhich expresses his special view on asceticism.

Structuralism is an attempt to apply linguistic theory to non-linguistic subjects and activities. In this paper, the narrative of Zahak Mardush is examined based on the theory of Claude Bremond, the French structuralist narrator. Bremond considers sequence to be an essential element of narrative. His model is based on the dual approach of winning or not winning the champion. In this paper, the narrative has been analyzed by a descriptive-analytical method. After examining it, it was concluded that the narrative has a systematic design and has used the method of narration linearly.

Mock epic is an important kind of parody, which is worth studying for its parodic nature and for the significance of epic genre. Mock epic by reversing the forms and content of elegant epic and consequently creates an eloquent text. The present Study aims at analyzing the formation of the two mock by the use of their form and content analysis. To shed light on the similarities and differences between mock epics in European and Persian Literature, two narrative poems were chosen to start a comparative analysis of their form and content. The comparative approach used in this study would help examine the differences and similarities between the way the two famous litterateurs have worked on the same genre, and it would help clarify reason behind the difference in their viewpoints in creating these narrative poems. This study will focus on Mouse and Cat byObeyd Zakani and The Rape of the Lock by Alexander Pope. The comparative method used in this study offers what the different and similar points in mock epics of Persian and English literature are. Finally, by analyzing the form and content of the two works, it will become clear that the English narrative poem could better and more powerfully create the elements of elegant epic and it has a more cohesive structure.

Different sciences such as philosophy, al-kalam, theology and mysticism all are seeking a way to achieve divine cognition, but what distinguishes mysticism from the others; is the use of the method of revelation as a tool applied to reach the ultimate mystic purpose. Roozbehan Baqli is a mystic who has detailed his mystical experiences independently in a book called Kashf al-Asrar, so this book is unique in this regard. He emphasizes on fascination and attraction of God more than other mystics and he emphasizes on endeavor less than other mystics. In addition to controversial issues expressed in his Kashf al-Asrar, his point of view about the issue of revelation is also significant. In this article, theoretical foundations and Roozbehan's views on revelation are reviewed. The division of revelation by Ruzbehan into three categories such as revelation if entity, divine attributes and acts and its instances and signs, followed by presentation the topic of perception and its preliminaries and outcomes are one of the most important issues raised in this research. Also, the issue of seeing of God from the point of view of Roozbean is considered and the means of seeing, namely the soul and the self and the situation of seeing each of them are rose.

Imam Sajjad’s Sahifa, as one of the most invaluable prayer and educational texts in Islam, is the inspirational source for many poets and writers. One of them is Qaysar Aminpoor, the famous contemporary poet. Both in describing some of the divine topics and in defining the wisdom, education and the like, Qaysar has borrowed from Sahifa. Some examples of his being influenced by the language, culture, and themes of that great work can be searched in more than ten collections of his poems. The present inquiry is studying the influence of Sahifa Sajjadiya on Qaysar’s devotions and some other poems. With this in mind, Imam Sajjad’s prayers and devotions have been studied and their influence on Qaysar’s poems has been clarified.

To have a definite term for a special expression seems to be one of the most important problems in Persian literary criticism. Although Naghizeh is considered to be accepted as an equal term for parody, it assumes different names in various researches, at times quite irrelevant to Naghizeh. On the other hand, the relation of some expression like pastiche and grotesque to parody has, sometimes, been disregarded. This study is a comparative examination of the terms Naghizeh in Farsi and parody in English. The aim of this comparison is to determine the boundaries, to find proper synonyms, and, finally, to arrive at a consensus regarding criticism and analysis of literary texts. Relevant texts are briefly presented to exemplify each term.

Although mysticism is all recognition and insight, yet, since this school of thought enjoys different aspects, recognition which means receiving and reaching the reality is considered part of joining the reality. Conceived thus, this study attempts to clarify recognition, its ways, and orders from the viewpoint of Ruzbihan Baqli Fasayee Shirazi. The main problem addressed is clarifying recognition as the final purpose of the mystic, its types and orders, methods of reaching, prerequisites, impacts and results in the mystical disposition of this great mystic of the sixth century (AH). The adopted research method is library-documentary and descriptive–analytical. Presentation of Ruzbihan’s viewpoints on recognition, classification of mystics into three groups of lay people, elites, and special elites, investigation of the types and orders of recognition, its prerequisites, impacts and results are the innovations of this study. From the viewpoint of this great mystic, four elements of self, soul, reason, and heart are the apparatuses for receiving and reaching the reality. However, each one of these four elements fathoms one facet of recognition which in His glorious manifestation burns all this by the capable hands of God and becomes prepared for a spiritual attraction (jazbeh) from God to be absorbed and taken to His presence.

The vital aim of the comparative literature is to describe the relationships and dealings between the world's literature and nation's culture and also is to emphasize the literary, cultural and religious interactions. The spirit journey to the heavens has always been the common issues in allegorical stories. The spiritual journey to the heavens is the main theme of Idris's Islamic Culture and Dante's Divine Comedy. The journey happens in three stages: Numb, Hell and Heaven. Dante's journey happens in Hell, Limbo and Heaven. Idris's is a figurative one with a divine source while Divine Comedy is a fantastic journey. The goal of the present article is to survey and evaluate the similarities and differences of these two journeys in Islamic and Christian cultures.