فهرست مطالب احمد خاتمی

Majid Gheisari's novel, Bagh-e Telo (Telo Garden), stands out in the genre of resistance literature in the post-war era due to its unique style, different from the author's earlier works. The key distinguishing features of this work, compared to previous works in the same field, are its focus on the status and identity of Iranian women, its challenge to the gender stereotype of men's presence in war, and its exploration of the issue of resistance and captivity among Iranian women during and after the war. This research employs Fairclough's critical approach to investigate influential discourses in the formation of the novel Bagh-e Telo. The study provides a descriptive and analytical analysis, revealing that the discourses governing the atmosphere of the novel serve to uphold existing power dynamics and social hierarchies. Women are portrayed as either part of the social structures or involved in the process of transforming them. The research findings suggest that the author of the novel Bagh-e Telo has effectively depicted the dominance of patriarchal ideas by portraying the overall state of women in society and the prevalence of unequal gender relations. Additionally, the author has skillfully placed women at the forefront of the story and portrayed their thoughts and actions in a way that challenges the prevailing ideological atmosphere. This approach allows for criticism of traditional beliefs and the transformation of power dynamics, ultimately leading to a shift in the social status of women under the influence of new humanistic and transgender perspectives.

The literary flow in the field of literature shows a kind of convergence that, while differentiating itself, represents a certain type of thought and expresses it in literary forms. Streamology has a semantic and thematic approach, and it does not mean only format or style. In flow science, "higher frequency" is of interest, which can represent the topic and problem of that flow in each flow. In this way, it is possible to determine which issue and problem each literary stream emphasizes more while forming a kind of intellectual convergence.

This research has collected its data from library documents by using the descriptive-analytical method and paying attention to historical periodization (1384-1368) and using the approach of literary flow.

Two general literary currents can be identified about the sacred defense: "value-oriented" and "non-value-oriented" currents, which have various sub-branches in fiction literature with significant works. Of course, some works of these two currents have common boundaries with each other. The main approach in the fictional literature of Holy Defense, during the period 1376-1368, is realism. The side stream of myth also in the period of 1384-1376, a visible period and due to the literary and theoretical developments, the trend towards new forms and styles of story writing deepens the realist approach and we see works with naturalistic streaks.

The works of the 1370s follow the modern styles of narrative and realism, and mental, psychoanalytic aspects, and themes such as fear of death, despair, etc. are visible in them. During the 1380s, the narrative style of the works is modern and postmodern. A bold human look and the themes of death, fear, personal issues, etc. can be seen in them, which describe the horrific events of the war with a gray perspective with clear and explicit language and words.

Bustan-e- Khayal is one of the most valuable and longest fiction texts in Persian folk literature which was written in the land of India in the style of storytellers in the twelfth century by Mir Mohammad Taqi Jafari Hosseini Ahmadabadi. A story mixed with truth and myth, semi-historical and fiction that so far not corrected and published. This article by research-descriptive method introduces this long Persian story which is based on the history of the Fatimid caliphs of Egypt and the Ismaili Shiites. The findings of the article indicate the empirical confirmation of some of the author's narrations about the Fatimid caliphs are based on historical sources, but in some cases, historical differences were also observed. In the field of story structure, the amazing motifs of magic, sorcery, and fairies with a lot of repetition make the atmosphere of the story very imaginative, and religious motifs play a role in moving the story forward. Linguistically, this story is full of Arabic, Hindi, Turkish and Mongolian words, and the author is well aware of the proverbs and poems of Persian poets. The use of Quranic verses and hadiths can be seen everywhere in this story.

The concepts of Ahura Mazdā and Ahriman in the Zoroastrian religious culture are intertwined with the concept of Mainyu, such that Ahura Mazda holds Spenta Mainyu within himself, and Ahriman is another verbal form of Angra Mainyu. In addition to these two antagonistic deities, Mainyu also applies to other concepts in Zoroastrian scriptures. These three concepts are still ambiguous and confusing, despite ongoing research, due to factors such as antiquity, semantic multiplicity, abstraction, and changes that have occurred over time in their meanings. The authors of this article have attempted to analyze and demonstrate these concepts from the perspective of the similes that have been formed around them, using a descriptive-analytical method and by extracting data from Zoroastrian scriptures. This is to show how simile, as one of the most important tools of cognition, has been used to visualize these abstract concepts and what visual and semantic characteristics have been explained for them. The results of the study show, firstly, that the authors of the scriptures under discussion have consciously used similes to relate the intellectual to the sensory as well as the tangible and the popular to bring these three concepts closer to the understanding and perception of the general public. Secondly, using simile to compare the concept of Mainyu to martial art terminilogy has defined a role for it beyond mere personification, identifying it as the agent and combatant soul of the world of Asha. Thirdly, while the similes referring to Ahura Mazdā maintain aesthetic criteria, the images associated with Ahriman have been chosen from among the most terrifying and striking phenomena in the view of that era.

The emergence of comparative literature of children and adolescents in the sequence of time is a clear proof of the effectiveness of specialization over time. Arab countries, like Iran, have paid attention to childrens and adolescents literature, and its theoretical foundations are taught in some university courses. In this way, comparative studies help any kind of scientific synergy. The works selected for research belong to the researchers of childrens and adolescents literature: Soraya Ghezel Ayagh, Aliakbar Shoarinezhad and Anvar Abdolhamid Almousa. The lack of research resources in this field has been the first motivation to deal with the present comparative research. Analytical review of the theoretical sources of childrens and adolescents literature in a comparative way makes the path of this field and the modern trend smoother for further academic research.

The article has been done in a descriptive and analytical way and the following comparative studies have been done.

Discuss:

In this research, three books have been selected for comparative analysis as follows:Literature for children and teenagers and promotion of reading (2012), which is the result of thirty years of personal experience of Soraya Qezel Ayagh in the field of children's literature. As a teacher, with more than 25 years of teaching in the fields of librarianship, education and art, and four years of continuous experimental work with teenagers, the author has looked at children's literature. This book consists of three parts and fifteen chapters, and the whole of the author's writing is based on national and western theories. The second book of children's literature (1975) is written by Ali Akbar Shoarinezhad. It has a preface and ten chapters. Practical topics combined with theoretical topics are included in this book. The third book of Adab al-ataf Fan Al-Mustghbal written by Anvar Abdol Hamid AlMousa has an introduction, a preface and five chapters. This book was published in 2010. In this research, similar and different parts of the works have been extracted and compared.

Various books have been authored and translated in the field of theoretical foundations of childrens literature in Iran and the world. New critical works in the field of childrens and teenagers literature, especially theoretical and historical works, have logically shown that research in the field of childrens and teenagers literature cannot be considered easier than other fields. According to the research questions, the findings show that the common topics in the books were focused on the history of childrens literature, defining childrens literature, what is childrens literature and promoting reading. Some topics such as story-telling methods, philosophy for children and reading aloud for children are among the topics that only Shoarinezhad has paid attention to them. In addition, practical exercises are seen in the book of Al-Moosa and Shoarinezhad, and such a point is not evident in the book of Ghezel Ayagh. The book "Adab Alatfal Fan Al-Mustghbal" written by Abdol Hamid Al-Moussa has a variety of topics compared to the other two books, and the references are completely scientific based on new topics. It is natural that the book of Abdol Hamid Al-Mousa and Ghezel Ayagh covers various theoretical topics because it is close to the last decade. In all three works, the history of children's literature is written under the influence of world literature; But in explaining things and promoting reading, national views prevail over the works.

The purpose of research was to compare the educational topics of children's literature in two Persian and Arabic academic books. The research method was qualitative with a descriptive and analytical approach. Data collection method was documentary using two primary sources entitled “children literature” “and Adab Al-Itat Fan Al-Mustaqbal” in Farsi and Arabic respectively. In addition, secondary sources such as books, articles and related research were also used. The findings show that according to the content of the two books, it seems that some of the topics and contents were written under the influence of western theories. Compared to children's literature, the book of Adab al-Ifat Fan Al-Mustaqbal has more subject diversity and the contents in it meet the basic needs of academic audiences. Other finding show that the topics of "early definitions of children's literature", " children's literature essence ", "history of children's literature" and "reading promotion" are similar to each other . Also, significant differences can be seen in topics such as "Teaching Philosophy to Children", "Translation in Children's Literature" and "Using Social Networks" in the two books, the main reason of which is the authors' nationalist tendency of these issues. According to the findings, the Arabic book of "Adab al-Ifat Fan Al-Mustaqbal" due to the use of the correct scientific research method as well as the presentation of diverse and useful topics, can be a suitable model for Iranian authors in writing an academic book of children's literature.

The collection of my memoirs, I am alive, is a completely feminine work with emotional, meaningful, meaningful and healthy prose. The book has a respectful tone, rhythm, smooth expression, clear sentences, clarity of language and an attractive and readable finish. The extensive use of verbal and spiritual arrays, original sensations, appropriate hints and assurances, good suspension, observance of similes and eloquent expressions, have made the book readable and pleasant. The present research has investigated this precious work by descriptive-analytical method and from the perspective of structuralism. . "I am alive" is the starting point of the female narrative in the works of captivity and it is derived from the model of patience and perseverance of Hazrat Zainab (PBUH). The language and prose of the story combined with other elements such as plot, time, accurate and calculated characterization, suspense and expectation, all express the author's skill in story writing.

Since the beginning of the Iran-Iraq war, three generations of writers have written novels on the resistance. In these novels, in line with the changes that have taken place in the social, cultural and political arenas of the society, one can observe a gradual transformation and the emergence of new types of discourse. Ebrahim Hasanbeigi's novel Ashkaneh is one of the works in the resistance literature written during two decades after the war with an almost different approach compared to previous works. An important theme highlighted in this work is the transformation in macro-structures and ideals after the war. Through a descriptive-analytical method, this study seeks to examine the discourse in the novel Ashkaneh based on Fairclough's critical approach and to answer the question ‘Does the discourse of the story serve to maintain the ideological power relations in the layers of the social structure or does it aim to weaken and transform it?’. The findings of the research indicate that the author of the novel presents the developments caused by the dominance of construction discourse at the social, cultural and economic levels of the post-war society and highlights the changes that have occurred in the identity of this period. Thereby, it criticizes the semantic system that dominates the era of construction and weakens the existing power relations in the layers of the social structure in this period.

Pai Ke Jamand is a book written by Seyednaser Hosseinipour, focusing on the expression of memories of captivity through diaries. This research is an analysis of the structure and content of Pai's book, which has survived and expresses the personal experience of the author of the book, according to his daily notes during his captivity,presented a beautiful and realistic image. It is the expression of the pains and sufferings of the captivity period and keeping alive the memory of the martyrs. Also, due to the accurate description of the events, it can have a historical value and reference in the description of the historical events of the war. The language of this work has a smooth and simple expression, and according to the time and place of describing the events (war and captivity), appropriate words and terms have been used, such as: Bisem Chi, lookout, camp, cell, etc.

The literature of stability and sacred defense is a fruitful branch of Persian literature after the Islamic revolution, which was formed based on Islamic principles and resistance against the invading enemy. Our aim is to analyze the evolution of this type of sustainable literature during the last four decades. Therefore, based on the theoretical framework of "Literary Flowology" and the use of historical analysis method, we have tried to periodize the evolution of the sacred defense literature into four periods, and examine the important works of each period, in terms of thematic and thematic aspects, by identifying the "superior frequency"Among them, let's identify the existing literary trends. Our findings show that the dominant literary stream from the beginning of the war to the present time is the stream of Islamic and religious revolution literature, which has a realist approach, but this approach has undergone changes during the past four decades.

The ancient epic of the Indians (Mahabharat) has affinities with the outstanding and universal epic of the Iranians (Shahnameh) which highlights the cultural similarities between the Indians and the Iranians. The present study tries to explore these two master epics and to examine the two mythical creatures of these two works from mythological perspective and to investigating their similarities and differences. The results of this research which carried out in analytical-descriptive method, seek to answer the commonalities and differences in the aspects of the two mythical creatures of the aforementioned works and the common criteria between these two works to show that among the numerous characters of these two epic works, similarities between Simorgh and Garuda are noticeable. These similarities and differences could be studies from various perspectives such as their unique place among the mythical birds, their appearances, their full presence as required, and their life on the sacred mountain. Another result of this research is that there are significant differences between these two mythical creatures; For example, in terms of outstanding personality traits, there is a significant difference between these two mythical birds: Simorgh's character relies on his wisdom, while Garuda is admired by his overwhelming physical strength.

The immigrant in the experience of immigration, through confusion and dissociation from its culture and lack of belonging to the host country, seeks to achieve its true identity, various ups and downs. Considering the slippery identity and theoretical patterns of immigration in the votes of Homi Bahabha, The present study, with a comparative approach and relying on descriptive-analytical method, examines the themes related to immigrant identity in the works of "Doordasthaye Mobham" and "love in exile", in stages such as facing the "other", acceptance and refusal, widespread awareness, self-return and finally, dissociation and destiny. In these works, Eastern personalities, in conflict with Western culture and in accordance with internal developments, intertwined with painful global trends and maintaining an ideological position, gain recognition and understanding of a network of global relations and provide a platform based on historical, political and human reality to awaken the forgotten realm of the hero's psyche within the merged boundaries of "self" and to make sense of it. The results of this study show that migration with a break from the insider culture, confrontation with the host land space and understanding the place and time in the process of interaction and confrontation with the discourse space of "the other" as a productive narrative space -"third space"- in the works, It explains the differences in the world; A process that, due to psychological and sociological factors, otherness and profound analysis of alien concepts and alienation gives new importance to the concept of identity.

Lyrical literature as one of the most widespread types of literature is presented in the context of the "literary and emotional" function of language and expresses the personal feelings and emotions of the "speaker". The purpose of this type of literature is to report and express the feelings of the speaker and at the same time, to please the audience. Each of the speakers of lyrical literature, according to the theme of their work, has used components that have given a lyrical color to their work and have distinguished it from other literary works. The methods of using lyrical elements in each of the systems of Persian literature are numerous and diverse. Factors such as "lyrical compositions and interpretations", "soft and delicate descriptions", "sad and isolationist atmosphere", "loving and beloved action", "inner monologues of the main character", etc. are the most manifestations of lyrical literature. This study tries to study the lyrical poems of "Badnauni's Sinner", one of the unknown poets of the return period, by using the ideational metafunction in the Functional Approach of Halliday. This lyric poet used different methods to express his lyrical thought, and it is noteworthy that he changed his attitude during his poetic period, and from his initial attitude, which was similar to the love poems of the Iraqi style house, in a period of his life he leans towards the view of the poets of "Maktab Voqou’". This study tries to answer the question that based on the paradigm of thought, the evolution of the worldview of the "Bedouin sect" in lyrical poems, what changes have caused the level of used "verbs"? Findings show that the change, decline, and ultimately degradation of the status of "beloved" as the main character of his lyric poems are shown through the reduction of the presence of this participle in "material and mental processes" and the high frequency of "interrogative clauses" which mean "reproach and exclamation".

One of the most important manifestations of migration literature is the component of nostalgia. The basic issue of this research is to answer the question of how such a component is reflected in women's fiction. The number of female Iranian immigrant writers, as well as the fact that some of them have a style in immigration fiction, shows the importance and necessity of such a study. The purpose of this research is to investigate the place of the nostalgia component in the selected and prominent stories of immigrant women storytellers after the Islamic Revolution, using a descriptive-analytical method. The hypothesis of the research is that nostalgia is one of the most important and significant components of form and content in the investigated works. The results of the research show that nostalgia in the works of AkramPedramnia takes the audience to the atmosphere of the past with a detailed description of the past and this nostalgia reminds of a special person. Another technique that Pedramnia uses to create a sense of nostalgia is image. Nostalgia in Nasim Wahhabi's works is narrated from the aspect of a space - like the space of war. Nostalgia appears in FahimaFarsai's works in a disturbing way for the characters in the story. In the works of FaribaSediqim, nostalgia refers to situations that a person has experienced with his friends and relatives. Nostalgia for objects and places is not seen in Siddiquim's works. The important feature of the reflection of nostalgia in Siddiquim's works is that the nostalgic events are shown in a fluid form of the mind and the narrator talks about the past as if it is happening right now.

Human sacrifice was one of the most important sacrifices that was offered in critical situations to please the higher forces. The Shahnameh is one of the texts that contains various rituals and beliefs; one of these cases is the ritual of human sacrifice, examples of which can be seen in the stories of Zal, zahhak, Siavash, the White Devil, and the story of the King of the City of Bidad. Considering this, in order to explain these examples in a descriptive-analytical way, the authors try to investigate and analyze the human sacrifice in the above-mentioned stories based on the theories of the sacrifice. The results show that the human sacrifices in the Shahnameh can be analyzed in five sections and were performed with goals such as longevity, warding off calamity, and repelling evil. In the story of Zal, due to the fact that in the ancients' belief, the birth of some babies with special characteristics (white hair) was considered ominous and a manifestation of God's anger, leaving him is a kind of sacrifice in order to ward off evil. Regarding Siavash's murder, it should be said: his murder has no fertility aspect and is a kind of ritual sacrifice in order to ward off Afrasiab's sleep disorder and save his life. Regarding the White Devil, it can also be said: what are known as Divan in the Shahnameh, were powerful, wild and stout enemies, and they were called Divan, so the killing of White Devil is a kind of sacrifice for the purpose of destruction. Is. In the analysis of the examples found, Fraser's theories of irreversibility and Boyce's cosmological perfection are more practical and flexible than other theories.

Rumi's Masnavi is one of the valuable classical texts of the Persian language. The concepts of this multidimensional work can be researched from different angles. Rumi communicates with his audience in the best way by using literary techniques and paves the way for his goal of education.

The present study investigates the innovative uses of expression in attracting the audience of Masnavi Manavi in the six books of this system with a descriptive-analytical method.

Those arts of expression and originality that help the general audience to understand the didactic subjects of Masnavi are more impressive and tangible.

In the science of expression, simile is more common than metaphor, and in metaphor, the type of metaphor seems to be more widely used. Also, "repetition" and adaptation types are more used in creative word industries. In the original spiritual arts, the poet has used more types of propriety and parables in his poems to attract and educate the audience, and these arts help the poet in attracting the attention of the audience and educating them.

Due to their simple language and pedagogical structure, the letters of Ayn al-Quzat Hamedani, have always been a source of reflection to help researchers and scholars find their way to the themes and principles of mysticism. Since Ayn al-Quzat Hamedani used 204 Arabic verses in these letters - without regard to repetitive ones- we should know the names of Arabic poets and his familiar and favorite divans, from which he selected many Arabic verses and included them in the letters to develop an accurate understanding of his thoughts. The Arabic verses in the text of the letters in many cases differ from the original text, and in some cases, they are inserted incorrectly into the text. The present study tries to refer to the original Arabic texts to name the main poet of the verses and the cases that have been distorted by mentioning their different forms. Among the Arabic texts, Ayn al-Quzat Hamedani is more interested in critical texts and words, and his knowledge of Arabic literature is mostly limited to these sources as well as the educational sources of the old schools. The Arabic verses he included in his letters are mentioned as examples in most dictionaries and critical texts. Among the Arab poets, Ayn al-Quzat Hamedani was more interested in the Iranian Arabic-writing poets such as Abivardi and the poets of Mukhadarm and early Islam poets, besides Mutnabi and Umar ibn Abi Rabia.

Pastoral tales, as one of the most important type of oral texts, have intra-textual and extra-textual features related to the situational context of the text. Kurdish pastoral are an arena of confrontation for binary opposition the interpretation of which, at both linguistic and narrative levels, will reveal aspects of structural and semantic structure of the text. The present study has tried to study binary oppositions in Kurdish pastoral tales at both narrative and linguistic levels from a semiotic approach. To this end, ideas from linguists and cultural semioticians as well as structuralists’ views in the field of narration have been employed. The results of the research show that, in Kurdish pastoral tales, the hero on quest challenges oppositions and negative semantemes in order to reach the valuable object and the desired world. In this procedure, the hero considered as a cognitive agent and the self belonging to a culture, interacts with the ecosystem of "other" and "another." The hero then achieves the desired result in a process of “removing alterity”  or ”fighting against the other” Eventually, by rejecting the alien world and the undesirable other, he returns to his culture and the world in which peace and balance is restored.

Sana'i of Ghaznavi (545 or 529-467 A.H.), is often known as an "innovative poet". One of his initiatives is the use of humor in "Hadiqah al-Haqiqah". Because he intends to explain mystical topics to novice mystics and readers of this book with popular methods. After Sana'i, famous mystics such as Attar Neishabouri and Maulana Jalaluddin Balkhi used humor a lot. This article, with a descriptive-analytical method and based on library research, has found the satirical techniques of "Hadiqah-ul-Haqiqah". While examining each trick and finding their connection with humor theories (Relief Theory, games theory, superiority theory, ‎ Incongruity ‎Theory), the researcher  has analyzed and investigated the function of these modes today.The results show that all the satirical techniques of "Hadiqa al-Haqiqeh" strengthen the theory of games. Also, the total number of "language games" is 67.4% of the total humorous tricks of Hadeeghah, mostly seen in anecdotes (narrative part), especially in the anecdotes of the second half of Hadeeghah. After that, there are techniques that strengthen the theory of superiority (8.5%), which can be seen in the whole "Hadiqah al-Haqiqah". As a result, it can be said that Sana'i was aware of the function of the  language game and its impact in order to teach mysticism, ethics and philosophy correctly and fully, and has benefited from it by using the effect of satire to better understand the content; But often with a superiority-seeking and informative view, he humiliates and mocks the characters of the stories or the audience. Out of 53 anecdotes and monographs, only 7 anecdotes and 6 humorous verses (in line with the theories of games, liberation and conflict) are functional in the communication.

Voghoo and Vasukht are traits of Indian poetic style; a style which was at its supreme height in the Safavid period (1501: Tabriz to 1736: Isfahan). These traits could be regarded as the traits with which Persian poets of this period tried to emulate their predecessors. Although these two traits belonged to the Indian poetic style, poets of other poetic styles utilized these traits in composing their poems. Jalal ad-Din Mohammad Rumi (1207-1273) was one of such poets whose commitment to Voghoo and Vasukht could be recognized in Sham Tabrizi’s Divan amply. After exemplifying some instances of Voghoo and Vasukht in Tabrizi’s predecessors, the present study analyzes his Divan for identifying these two traits. The study assumes that while struggling with his melancholic love for the beloved, Rumi as a mystical amorous poet loses his command on logic and restraint, and starts disclosing intimate accounts of the transpirations between himself and the beloved.Keywords: Poetic Style, Voghoo, Vasukht, Rumi, Societies, Social behavior, Shams Tabrizi.

Molana's Masnavi is one of the classic precious texts of Dari language. The concepts of this work are multi-dimensional and can be researched from different angles. Hence it's antiqued, but not old and repetitive after centuries. What tools can be used to find the secret of this dynamism? Can traditional eloquence reflect the artistic dimensions of Masnavi to convey the concepts and contents? In this article, Masnavi's Ney Nameh is analyzed from the perspective of the text coherence principle and relying on the cohesive tools by Michael Halliday and Roghayeh Hassan, regardless of literary industries. In this article, and using the above tools, it is expressed how Molana intertwines and ties all the elements together in two levels of form and content. The elements of reference, omission, conjunctions, and also, in the area of returning, the repetition, semantic contradiction and semantic inclusion are the most effective tools in conveying concepts in Ney Nameh and they show Molana's beauty of speech clearly. This article represents that in order to understand Molana's secrets of achievement in conveying the meanings and concepts, we should use new semantic tools in the study of Masnavi to find new angles of the literary and mystical masterpiece.

One of the solutions that philosophers have presented to justify the emergence of plurality from unity has been to consider a hierarchy of beings. Sana'i Ghaznavi is among the thinkers who believed in a hierarchy for beings and was influenced by the Neoplatonists in this discussion. But Sana'i is also influenced by religious wisdom. This has caused his opinion differ from Muslim Neoplatonic thinkers. His emphasis on the divine will and the dependence of the general intellect and the general soul on the matter is, more than anything else, what shows his difference from the Neoplatonic philosophers. While considering a role for mediators in creation, Sana'i emphasizes that they are a facet of the divine order and what is really the cause of creation of beings is divine power and God directly created beings. Sana'i is more intent on praising God and uses the general intellect and soul for this purpose. However, what really exists in his opinion is not the intellect and the soul, but God.

Moznab Badayouni is one of the unknown poets of Qajar era lyricists. This research tries to express the stylistic features, the theme of his poetry as well as its literary beauty. The goal of the researcher is not to determine the frequency and extent of imitation of Moznab from the ancient style, but to determine and examine the poet's style, at the linguistic, literary and intellectual levels, to answer these questions: 1- Which of the styles of Persian poetry is Moznab influenced by, and which poet or poets has had the greatest impact on him? 2- What are the manifestations of the school of occurrence and burning in Moznab Badayouni's sonnets?

Study

This research was done by content analysis and library method. The study method is in-text and with a critical view. The scope and community under study is Diwan Ghazliat Mozab.

Moznab has managed to bring his language and thought axis closer to the Iraqi style poets. In some of this poet's poems, the color of "School of Occurrence" and "Vasukht" can also be seen, which shows the change of his attitude during his life.

Moznab especially followed Saadi and Hafez in composing ghazals. On the linguistic level, his poetry is far from any complexity. He has used vernacular language as one of the main materials of artistic language and he tries to musicalize his words with the artistic use of vowels, an anthology of words and their arrangement together. At the literary level, expressive elements such as simile, metaphor, and original elements such as repetition, observance of analogy (more than 95 percent), contrast, and allusion have the highest frequency. At the intellectual level, the focus of his thoughts and the basis of his lyrical poetry is "love and its related topics". People's beliefs, customs, religious beliefs, proverbs, as well as many themes, including the political and social situation of the country (during the constitutional period), can be seen in his poetry.

One of the most important concerns of Sanai is confrontation between reason and religion and their commonalties. Sana'i's varied opinions on reason and Sharia have led some to consider him a theologist, and some have called him a religiously devoted poet. In some cases, he has even been considered anti-rationalist. Seemingly, the main reason for these varied reactions to Sana'i’s views on these issues is his consideration of the various aspects of reason and religion. The main question is what reason and sharia meant to Sana'i and under what conditions he preferred reason to sharia and sharia to reason. In this article, adopting a library type of research, we try to explain the contradictions in his statements on this topic. The conclusion is that Sana'i did not see any conflict between rationality and religiosity. He rather considered the two to be complementary at a level that transcend linguistic expression.

Iranian society in the Qajar era, on the verge of the constitution was under the tyrannical state and was an oppressed society, and the confrontation with the West – the civilized and powerful “other”, he revealed the depth of backwardness and disorder of this country and he reflected the ignorant and unconscious “self” of Iranians in front of their eyes. With his works and articles, Mirza MalkumKhan the intellectual of pre-constitutional period, had a great contribution in stimulating and turning people's thoughts to the “other” and passing through himself. He tried to revive the dying society of Iran by laying the groundwork for changing Qajar discourse and establishing the discourse of democracy. The main question of this article is how “self” and “other” has been reflected in Malkum's writings and the effect of his approach on the formation of Iranian cultural identity. The present study shows that by adopting political mechanisms while exposing the internal situation of the country and explicitly criticizing the current situation, Malkum also tries to marginalize and eliminate the long-standing monarchy discourse in Iran to highlight the European discourse and   promoting and developing position “the other” to deals with the West and the culture and manifestations of Western civilization, and the efforts of his works are engaged in establishing a liberal, law-abiding discourse through self-elimination and acceptance of “other”. In this research, “self” and “other” from Malkum's point of view are read by studying his collection of works and using the descriptive and analytical-historical methods.