بهاره فضلی درزی

Humor in Gogol's fantasies is not only social criticism, but the author tries to instill a kind of fear and sometimes anger and surprise in the reader with special measures. This article tries to deal with Gogol's ways or Styles to achieve this characteristic in two works, Nose and Overcoat, with a descriptive-analytical approach and with reference method, and to show that Gogol used excessiveness and exaggeration in Reality and turning to fantasy has taken it to other dimensions like grotesque. He has turned to the grotesque both in the elements of the story, in the method of its execution, and in the content. In the structure section, it has been achieved with the help of suspense, characterization, and exaggerated and rumored beginnings and endings, and in the performance method, it has chosen fantasy and postmodern approaches rather than humanizing objects and body parts. to give them an exaggerated personality and by creating an illusion in the audience, create a platform to turn to an open ending and as a result create an eerie uncertainty for the reader. It breaks the border between reality and fantasy in the audience's mind, and finally, with uncertainty, fear and anger prevail over humor. In fact, by changing the real and real texture to fantasy and also turning to scary content, in addition to a funny and surprising and unconventional act, the author has thrown a scary background in the heart of a person's awake conscience to complete his set of Grotesque Styles or ways

BACKGROUND AND PURPOSE:

The emergence of Khayyami"s thought in an educational-social work is neither compatible with the custom of educational literature nor with the custom of Khayyami"s thought. In particular, one end of some of Khayyam"s teachings, such as the tail, is to seize and windmill is far from the goal of educational literature. The essence of Khayyami"s thought is taboo and immoral; Hence, Khayami"s discourse is rejected in Islamic society. The most frequent themes of this idea are the reflection on the issue of death, which is also seen in Bustan, like Khayyam"s quatrains, in allegories such as going to the cemetery, talking to the head, lifting grass from the grave, and digging bricks from the grave; Also, from Badastaism, the tail should be mentioned as booty, choice and astonishment and doubt in existence, the Creator and the world after death, and determinism, which have traces of debauchery and drunkenness. The main question of this research is whether these themes have been updated in the opportunity park and in this case, what is the purpose of them? Is this goal in line with Khayyami"s idea or not?

This article has been done by descriptive-analytical method.

Saadi invites society to liveliness while warning of punishment after death, to enjoy this world while paying attention to that world, and to pay attention to collective rather than individual benevolence

This article shows that the reflection of Khayami"s thought in the park has not only been modified, but has become precisely a moral issue and as a result has lost some of Khayami"s function. Saadi"s thought in Bustan is far from Khayyami"s thought because of his religious-moral, functionalist view and invitation to feel responsible for each individual in society, attention to the afterlife, and utopia.

Khaghani، a famous poet of the sixth century، In his poetry، the ode and Piece، The term is applied to a Tayyar and Bajgah together. In the present study، While explaining the term of these words، It will examine the evolution to Khaghani time in addition it is stabled the meaning of these words and The result is given Tayyar also means scale، it is called speed-ship that was kept in a place it siad station. Bajgah term is connected with taxation، Those Special see taxes that would have gotten ships in some places Tigris، that is called Ma''asir. In addition، Khaghani in his piece has satirizes sailors when he went to see one of them Bajgah. He had said about them whom considered cowardly. According to historical evidence، and since his arrival in Baghdad، he has criticized the situation in Baghdad، In particular chivalrous.

Since the beginning, Islamic Sufism has borne several trends of thought, and different Sufi sects and principles have been emerged from it, one of them ‘Chishtiya’ in the Indian subcontinent which has had lots of followers in the major cities of the Indian subcontinent such as Punjab, Delhi, and Hansi with a formal establishment and a special abbatial system. One of the most famous ‘khanqahs’ (worship places) in the seventh century was Sheikh Fariduddin Ganj Shakar known as Baba Farid’s khanqah (664 AH) in Ajodhan, Pakpattan Sharif. This study seeks to investigate some of the traditions and mores inside Sheikh Fariduddin’s khanqah such as the manners of accepting disciples, swearing allegiance, cutting the hair, granting the hat, etc. Investigation of the cultural and social aspects of a certain sect’s mores is of great importance since in this way we can detect the adherence of the followers of a sect to the previous traditions, modifications, limits of changes, substituted cases, the causes, as well as the way of withdrawal or prevalence of deviations among them. In the present paper, the mores of Baba Farid’s khanqah, based on the contents of ‘Rahat ul-Qolub’ manuscript written by Nizam Olia, his student and caliph, as well as ‘Asrar ul-Olia’ by Badroddin Abu Eshaq, his disciple, son-in-law, and successor, have been investigated.