نشریه علامه
پیاپی 26 (بهار و تابستان 1389)

This article is concerning the study of archetypes in "Gilgamesh" myth and "the story of rostam". We try to show the common archetypes in both stories and analyze them.The repetition of common archetypes represents an unconcious collective memories in the minds of two different nations.Viewpoints of Carl Gustave Yung as a famous psychologist, that have been used to survey literary works by many critics, also have been used at this study to show the common memories of nations that has been represented in both archtypes.Hence,a careful look at the archetypes represents a common uncocious collective memories in the minds of two nations.

Movlana jalal-o-din Mohammad Balkhy is indeed one of the greatest Iranian poets in Islamic mysticism so that some scholars have called Mathnavi the greatest mystical work in the history of world literature. In this research we have referred to the rank and status of heart as a divine gift and a luminous essence and the only spiritual part of human beings body which is regarded as the center of cognition and divine love and the most important vehicle for achieving holy God by the mystics.So, first of all, heart has been defined lexically and then its dignity and position have been discussed according to Movlana's viewpoint which are the devine throne, God's house, a mirror that shows God's beauty, the place of inspiration and revelation, the essence of existence and the macrocosm.

The Imagination of God in Islamic mysticism is fully different from those of philosophy and theology. The God of Mystics is the only subject of love.He is the only trughtful existence. Men through love gets a unity with God and abtain a trughtfull knowledg of god. Love is the only arena of unity between men and God. In contrast with philosophy and theology, Islamic mysticism doesn’t Image god through concepts such as causality, absolute existence or the cause of possible existences, but Images God only as a subject of love, a sacred love that units men with God.

The grate Khorasan was the main center spread of Sufism based on the teachings of the Quran and Islamic religious rules in the fifth and sixth centuries AH. Mysticism based on monotheism and a moderate stance toward compliance orders and rules of jurisprudence and Islamic law was sufi doctrine in the context in which law and proposed orders and the Quranic and religious knowledge to the law basis of Sufism was considered.

This article contains a comperative analysis of new achivments in the social psycology about philanthropy with the movlavies thought about the philanthropy. Our final conclusion is that movlavies though has elements of genuine knowledge about philanthropy and its impact on social life that new scientific knowledge of social psycology conciders it important.

Men have some believes which necessarily dont have a concrete basis. Some of these believes may be weakened or supported through the circumstances, but they never be forgotten. They have become parsts of people's thoughts, in the way that in everyday conversation they use them and in some cases they become a by-word. One of these believes, no matter what religion they have, is the image of a man named "Dajjal". Although this belief has conveyed in different forms in different religions, they have the same subject and conclusion.In this article we try to analyze the reflection of Dajjal's Image in the poems of some Iranian poets.

Literary style along with other literary systems such as literary methodology and literary critique is one of the new literary knowledge that its main subject matter is to classify literary works in matter and content. A style is a representative of indigenous and exegenus changes and development and also aesthetics of works that author has in his mind.A scientific study of literature implies that for the better understanding of literary works, we classify them in som categories. This classification helps us to comprehend the indigenus and exegenus process of development of this kiad of poetry style with a glance to aesthetictics of poem.