ebrahim khodayar

The most important and obvious commonality between the countries of Iran, Afghanistan and Tajikistan is the Persian language and poetry has created a solid bridge between us and the glorious history and culture of our past. Poetry, which is considered one of the important and constructive elements of the culture of every country and its people, reflects the collective spirit and national aspirations of that society and it is for this reason that the role of poets in culture building and consequently in national identity and self-awareness becomes important. The main problem of this research is to analyze and investigate the elements of Iranian identity and nationality in the poetry of Layeq Shirali, one of the most prominent national representatives of contemporary Tajik poetry. The writers with analytical and descriptive methods in the context of social romanticism have classified these elements under lost language (importance of mother tongue), homeland (geographical homeland), historical poetry (remembering Iranian culture and history), Rakhsh soul (inspired by the Shahnameh) and cultural homeland (Samarkand and Bukhara). The results of the research indicate that the poet strongly considers himself to be related to the common culture with Iran and the Iranian world and constantly tried to reflect it in his poetry.

The deconstruction trend, which began independently with the ideas of Jacques Derrida, revolves around the urgency of rebuilding the text after a devastating demolition. Derrida's style in his literary criticism is based on deconstructing the text on the basis of destroying the certainty of meaning and the centrality of fixed semantics rather than being aimed at rebuilding the text. However, with the entry of this movement into the Arab world and its resurgence in the bosom of Abdullah Al-Ghadami's works, this trend found new life and was based on rebuilding the text as the most important artistic function of literary criticism. Within the aforementioned, poetic suggestion and inspiration can be considered the main catalyst for the realization of this propaganda. In this research, depending on the descriptive-analytical approach, the role of suggestion in enriching the deconstructive approach was studied under the shadow of Abdullah Al-Ghadami's actions in the book AI-Kateia and Takfir. The results indicate that this element provides remarkable developments in this approach, including: coherence of interpretation and writing, delving into the problematic, destroying the text and reconstructing it as a literary text, the poeticity of the reader, and Change the speech style.

Decision-making is a foundational element in both individual and organizational contexts, drawing significant scholarly attention in the field of management. Theories in decision-making are underpinned by foundational assumptions that stem from differing ontological and epistemological paradigms. Thus, exploring the critical topic of decision-making through the lens of Iranian-Islamic texts gains particular importance in addressing these theoretical underpinnings. This study aims to examine the structural components of decision-making based on the thought of Jalal al-Din Muhammad Rumi. The research methodology integrates several layers: interpretive in terms of paradigm; exploratory in terms of logic; qualitative in terms of strategy; case study in terms of research method; descriptive-exploratory in terms of its methodological nature; document-based in terms of data collection tools; and thematic analysis as the analytical approach. Through this methodology, the research identified 224 descriptive codes, 28 interpretive codes, and 6 overarching themes: 1.Attention to Divine Will, 2.Decision and Action, 3.The Role of Divine Influence in Decision-Making, 4.Growth through Decision-Making, 5.Errors and Failures in Decision-Making, 6.Determination in Decision Implementation. The exploration of the structural components of decision-making, as inspired by the thought of Jalal al-Din Muhammad Rumi, contributes to the enrichment of existing theoretical frameworks in the field of decision-making.

Haji Abdol Azim Sharii (death: 1894) is the first biography writer of the literary environment of Bukhara that played a significant role in the second half of the 19th century to spread the idea of biography writing as a genre in Transoxiana through being inspired by Vazeh Bukharayi and other Iranian contemporary writers. There is little known about this biography writer and his biography. This study aims to analyze the life of Sharii and his biography. The study employs content and genre analysis to pursue the following questions: Could we understand the real identity of Sharii? What are the Sharii's criteria to write a biography? The findings show that Sharii is an Iranian from Bukhara. His identity is still vague after one and a half century after his death. The study analyzes his criteria considering nine aspects: 1. penname, 2. racial and family relations, 3. literary and ideological ties, 4. birthplace, birth and death date, 5. occupation, studies, teachers, students, and contemporary figures, 6. other poets' works, 7. ties with the government, 8. rhetoric of biography writing, and 9. language.

Since the second half of the 5th century, Muslim poets, using imaginative literary language, have allocated a part of their divan to clarifying the issue of Miraj. Based on the event of the ascension of distinguished people in general and the Prophet’s (pbuh) Miraj in particular, written or illustrated travelogues with the title of Mirajnameh/Mirajnegari -illustration of ascension- have appeared among different nations and religions. Today, with the development of academic disciplines and subdisciplines, the scientific discussion and study on the event of the Prophet’ (pbuh) Miraj has further expanded; and in addition to language and literature experts who have conducted research on the literary aspect of written Mirajnamehs, artists and religious scholars have considered this event from an artistic and qualitative point of view and investigated its various aspects. Considering the variety of topics and the dispersion of the research conducted in the field of the Prophet’s Miraj in various academic disciplines and also the existence of research gaps in this  fields, it seems that exerting a meta- analysis method and an interdisciplinary approach in conducting a research on the Prophet’s Miraj can be useful and fruitful with respect to conducting more goal –oriented futures studies on this event, linking knowledge domains and paving the way for future studies.The questions and hypotheses of this research are as follows:-What is the position of the Prophet’s Miraj in academic research?-What is the purpose and method of writing that?  -What are the research gaps in the field of Meraj studies?Due to the attention of religious scholars, poets and illustrators in the production of content in the field of Miraj, these works have received the attention of religious, literary and artistic disciplines and researchers of these scientific branches. Some of these researches seek macro academic goals, but at the same time, they have suffered a gap in terms of interdisciplinary research and modern criticism. In these researches, regarding methodology, each study has its own method.  According to what is considered as an example in this article, some researches have been done on the issue of Miraj until today, but a research that can examine all these works with the method of meta-analysis and interdisciplinary approach was not found in any source.

In the present article, following the meta-analysis method, we are looking to conduct a qualitative research based on library and documentary research.  For this purpose, a total of 61 articles that met the criteria for meta-analysis will be examined in terms of research method, sampling situation, theoretical approach of the articles, research framework and its main dimensions.

From the review of a total of 61 articles on the Prophet’s Miraj that published in the academic quarterly journals and approved by the Ministry of Science, the following findings can be obtained: Researches in the field of the Prophet’s Miraj in academic quarterly journals are divided into 7 topics: Literary, historical- mythological, mystical, religious, philosophical, artistic and interdisciplinary fields. Mostly a descriptive- analytical method and library tools have been used in the conducted studies and most of the authors have turned to an adaptive-comparative approach. These studies have been written with various goals. The most comprehensive research structure includes introduction, discussion, conclusion, and references. The remaining parts of the article, which generally have a special and distinct place in the articles today, are mentioned in other parts; For instance, the literature review and method mentioned in the introduction or the theoretical framework included in the beginning of the discussion. All the researches are pure researches. In other words, the authors did not apply the results. On the one hand, this is one of the weaknesses of the reviewed researches, and on the other hand, it will be inspiring in conducting future researches. Scientific researches in the field of Miraj among different sciences generally started from 2006, and if an article was written before this year, it was not indexed electronically. Most of the written articles are related to the 1990s. Out of the total of 39 academic quarterly journals in which these articles were published , ‘Negareh’ quarterly  journal with 6 frequency , and ‘Comparative art studies’ and ‘Islamic art studies’ with 5 frequency have the most  articles in this field.

By comparing the results obtained in the research process of Meraj field, we realized that some research gaps are visible in specialized fields. Examining the aesthetic effects of Mirajnamehs, examining Mirajiyehs- texts written about Miraj- and Mirajnegaries from the perspective of modern criticism, intertextual review of the works of this field, understanding the belief elements of different eras, pursuing the rejection  of symbolic aphoristic, mystical and religious topics  in the Mirajnegaries, understanding the viewpoints of jurists of different religions about Miraj, Tracing the verses and hadiths of the Miraj in various works, reaching the viewpoint of mystics , philosophers ,sages and theologians, poets or writers about the quality of Miraj, enriching  study resources in the field of Miraj, reaching an acceptable global model for Mirajnamehs and Mirajnegaries, better understanding of the vision and ideology  of the Ascensionists and ascension illustratores; and understanding the types of scene setting in Mirajnegaries are among these approaches and suggestions.

Visual arts have witnessed the emergence of various roles and themes throughout history, resulting in the development of diverse methods and platforms within the industry. In the realm of urban music, specifically in Iran, musical instruments are adorned with various images, becoming integral accessories to this art form. In the 6th century AH, along the banks of the Aras River in the region historically known as the Kingdom of Sharvan, Khaghani Sharvani, a poet and musicologist, highlighted the unique role of Daf, a percussion instrument adorned with depictions of domestic and wild animals, especially in hunting situations. This article employed a historical-analytical method and relied on library studies to explore this topic. Multiple factors contribute to the significance of Daf in this context, making it difficult to pinpoint a single definitive reason. However, considering the historical connection between similar practices among the shamans of Siberia and the Caucasus, as well as Khaghani Sharvani's emphasis on the association between Daf and the hunting grounds of the kings of Sharvan, this explanation emerges as the most compelling and informative among the various reasons that can be discussed.

Decision-making plays a pivotal role in individual life, and this issue has garnered special attention from scholars. Theories in the field of decision-making are based on assumptions that stem from differences in ontological and epistemological foundations. Therefore, it is important to examine such a significant issue as decision-making by referring to Iranian-Islamic texts. The main goal of this study is to explore the contextual components of decision-making based on the thought of Jalal al-Din Muhammad Rumi. In this research, themes, concepts and categories related to the contextual components of decision-making, based on the thought of Jalal al-Din Muhammad Rumi, are identified through the study and analysis of Rumi's Masnavi Manavi. This study is exploratory and descriptive in nature and utilizes thematic analysis as its primary analytical method. In the descriptive coding stage, after continuous comparison of the data, 312 descriptive codes were presented. In the second stage (interpretive coding), a list of 43 interpretive codes was created. In the third stage, by bringing the categories closer together to explain the concepts, 11 overarching themes were expressed. The examination of contextual components affecting decision-making based on the thought of Jalal al-Din Muhammad Rumi can enrich the frameworks proposed in the field of decision-making.

In historical texts, one can find traces of historical characters who are close to the heroes of romances in terms of actions and personality traits. The authors of these texts have made every effort to show these events as real. One of these personalities is Jalal al-Din Khwarazmshah. 'Battle of Indus' has been narrated in the life of this hero in very different historiographical and literary texts. The literary narratives of this event are formed from within the historiographical texts. The purpose of the authors of this study is to compare the narratives of historiographical and literary texts from the seventh century to the contemporary period in expressing the event of the 'Battle of Indus' in the context of narratological studies. According to the results of the research, among the narrations, Ibn al- Athir's work is closer to reality due to the believability and logic of the narrations and the neutrality of the historian, but the narrations of Nasawi and Juvayni are more literary due to less believable and contradictions in the narrations. And in some of these narrations, Jalal al-Din is similar to the hero of the romances; These narratives have become the main reference for writers and poets of later periods to create poems and historical novels.

The connection between Iran and Transoxiana goes back to the history of their formation. Simultaneously, with the establishment of the Safavid government in Iran and the Shaybanids in Uzbek Khanate in Bukhara in the 10th century AH, the common political destiny between Iran and this region was separated from each other, but the cultural relations of these two regions continued until the period of Soviets and the formation of the Soviet Union. The separation of the two regions reached its peak by forming new geography and changing the Persian script to the Cyrillic and Latin in the second language in the newly established Republic of Tajikistan. The anti-cultural policies of the Soviet government continued with power during the time of Lenin and Stalin; But with Stalin's death and Khrushchev's coming to power in 1953, little by little the space was prepared for the reconnection between the people of both sides of Oxus, and the ground was provided for returning to the common roots among them. From now on, in Tajik poetry, we observe themes that have no history before. This process became stronger during Gorbachev's era (1985), until the collapse of the Soviet Union and the independence of Tajikistan (1991), the period of real Tajik poetry revival began.

The authors' method in this research is a descriptive analysis based on the principles of the social romanticism school, which has been done for the first time after analyzing the entire poetic heritage of Golrokhsar in this regard. The analysis of poems through the literary schools and the recognition of its common features help us to better understand the contemporary poetry of Persian speakers. The study of contemporary Tajik poetry began after the collapse of the Soviet Union and the creation of common cultural ties between Iran and Tajikistan with the publication of works on the overall state of Tajikistan and its poem And in recent years, researches were conducted on its prominent poets, but the study of social romanticism in contemporary Tajik poetry and Golrokhsar Safieva is unprecedented. The main purpose of this research is to investigate the factors and contexts of the emergence of social romanticism in contemporary Tajik poetry and analysis and categorization of social romanticism in poetry of Golrokhsar Safieva to determine which of these effects and aspects in the poet’s poem is highlighted and have played a more prominent role in the formation process of his individuality.

discussion and review:

The issue of this study is recognition of the factors and fields of social romanticism in contemporary Tajik and Golrokhsor Safieva. Tajikistan and its turbulent history during the Soviet era, the developments of contemporary Tajik poetry and its familiarity with the prolific Russian literature, the political and economic factors governing Tajikistan during this period made the poetry of this period a suitable platform for the emergence of social romanticism. All these factors under political factors (councils and socialist realism trend, World War II, formation of new geography in the region and civil war in Tajikistan), economic and social factors (poverty and corruption ruling the society, injustices and giving many privileges to The Soviet Union, the single-productization of Tajikistan) and intellectual and cultural factors (the movement of educationists and modernists, attack on the Persian script and language, attack on religion and religious principles and familiarity with Russian literature) were investigated and their connection with the rise of social romanticism was analyzed. After analyzing these factors, social Romanticism was investigated in flower Golrokhsar poem. In her poems, Safieva goes through the stage of romantic individuality and personal concerns (individual romanticism) and deals with collective and public issues and problems (social romanticism).This is the characteristic of most of the poems written during this period; So that it can be claimed that this current is one of the main contemporary Tajik poetic flows, which started with Mumin Qanoat and Bozor Sobir, Layeq Sherali and Golrokhsar continued it in their poetic heritage. The main effects of social romanticism in Golrokhsar were studied in seven sections:The country of honor and the nation of the sun: nationalism and patriotic themes poets of national pains: protesting the political, economic and social situation The religion of love and purity: moral principles and values sadness irreligion: religion and beliefs In search of self: self-knowledge and self-awareness Missing women: issues and problems of women spring courier: hope and idealism The socio-political situation of Tajikistan and its complaints and criticism, and attention to nationalist concepts are more evident in his poems. In all his poems, the poet creates a deep nostalgic feeling in his audience towards the homeland by taking refuge in ethnic and national memories, and by focusing on this issue, he reaches individuality.

Knowing the factors and fields affecting the emergence of social romanticism in contemporary Tajik poetry helps to better understand the contemporary poetry of this land. The analysis of poetry and the poet's intellectual system based on the principles of social romanticism determined that Golrokhsar is one of the most prominent contemporary Tajik poets in this field. In most of his poems, he has social and public concerns, which he has presented in a romantic format. Golrokhsar’s poetry is based on two foundations: the external nature and the internal world, and this has caused his poems to be both romantic and committed to people and society. Based on the results of the analysis and categorization of social romanticism in his collection of poetry, it was found that the poet's attention is focused more on the fate of society and politics and criticism of it, homeland and geographical, historical and cultural aspects and nationalistic themes.

The damages caused by natural disasters and the type of reaction of societies to them are reflected in various forms in the past written works. This study aims to find out how and how much attention has been paid to these damages and related reactions to manage them in Persian texts up to the eighth century.This research is a descriptiveanalytical study of qualitative content analysis with an integrated approach. Among the common hazards, four natural hazards were considered: earthquake, flood, drought and snow and severe cold. From selected Persian texts, by purposive sampling, a total of 93 poetic samples and 52 prose samples were selected and reviewed.According to the research findings, economic damage is the most damage caused by natural disasters mentioned in selected Persian texts (45%). Also, the most attention has been paid to response phase in these texts (52%).It seems that our society's response-oriented approach to natural disasters is rooted in a historical mentality that is reflected in Persian texts up to the eighth century. A methodical and deep understanding of this historical mentality can help theorists in a deeper understanding of the current society behaviors against the natural disasters and the desired change of those behaviors.

The book of Sirat-e Jalal al-Din Minkoberni is among the most important and reliable historical documents of the Khwarazmshahian and Mongol period, written by Shahab al-Din Nasawi with the aim of writing real history. In this study, citing the approach of Rhetorical narratology and the indicators of the 'Invalid narrator' theory in the opinions of rhetorical narratologists including Rimmon Kenan, James Phelan and Martin, the validity of the effect's narrator and the accuracy of some of his historical reports based on "textual and intertextual studies" have been evaluated. In textual studies, the signs of the narrator's invalidity and lack of credibility are identified as "moral evaluation of events and their judgment, the contradiction between the narrator's words and behavior, Linguistic and emotional cues, narrator acceptability, and the narrator's limited knowledge" and in the intertextual field, the narrations of the historian are examined with the historical texts of the same period and the "narrations deleted, abbreviated or erroneous" of the narrator are explained. Based on the results of the research, it can be said that despite the unique importance of the book in recording the life story of Jalal al-Din Khwarazmshah and the epic depiction of his life in the face of the Mongol demons, some contradictory orientations of the narrator in depicting the character of Jalal al-Din Khwarazmshah during the narration are distorted and invalid. For this reason, the audience is skeptical in the face of Jalal al-Din Khwarazmshah and some cases finds him a shaky personality.

Salafism and Sufism are two old Islamic movements that have had major conflicts throughout the history of Islam, which were mainly related to aspects of adherence to and respect for Islamic law and jurisprudence and different interpretations of religious texts. Simultaneously, these two movements have also had some interactions with each other, and there have emerged some individuals or groups who have combined a number of the manifestations of Sufi practices and actiond with those of Salafi and thus creating Salafi Sufism or Sufi Salafism. The Central Asian region is the cradle of a great number of Sufi orders. It has delivered great mystics to the Islamic society. Moreover, several signs of Sufism can be observed in its people’s general culture. However, the people’s inclination towards Islam at the time of liberation from the yoke of communism and the formation of Islamic groups and parties – who wanted Islam to play a greater role in governing the society – besides some countries’ cultural and propaganda exercise, it has led to the creation of various Salafi groups in the region. Naturally, Salafi’s entry into Central Asia’s mystical culture paves the way for the creation and growth of a discourse that has nurtured a combination of Salafism and Sufism in itself. The present study examines the Salafi Sufis in Central Asia and the Sufi-Salafi interactions in this region. Although there are many references on Sufism and Salafism in Central Asia, no independent reference on Salafi Sufism was found in the land.

The literary style of realism without any judgment in simple language familiarizes people with the contradictions, beliefs and realities of society. The content of these works can provide useful and practical information for the mental development of individuals and societies. Swiss psychologist Carl Gustav Jung's archetypal theory also familiarizes us with collective unconsciousness. Collective unconscious contents are ancient constant and repetitive archetype that are activated by external actions and flow from the unconscious level to the conscious level. From Jung's point of view, literature is one of the sources by which archetypes can manifest their nature. According to this theory, Carol S. Pearson, an American researcher, introduces twelve archetypes. Orphan is one of these archetypes. This archetype is activated in the collective unconscious part of the psyche by people facing oppression, discrimination and frustration and ultimately brings realism to them. In this research, five realist works of 1960s and 1970s of Iran’s realistic literature were investigated by descriptive-analytical method from the perspective of orphan archetype. Based on the obtained results, the realism literary style which represents oppression and injustice in societies, is a suitable platform for displaying an orphan archetype. An archetype that is activated by rejection and oppression and emphasizes realism.

In this article, the critical works of Poornamdarian are analyzed and read with a philosophical hermeneutics approach. The question is whether hermeneutic philosophy has been the basis for the interpretation of literary works in this author's critical works. And if so, what hermeneutic concepts and themes form the basis of his work? Hermeneutic philosophy has penetrated in literary criticism with many of its themes and concepts. It seems that Poornamdarian has also used many of these concepts in his works, and many of the manifestations and ideas derived from this philosophy have been the basis of his works in the critique and analysis of literary works. The titles and layers of this article that are influenced by these concepts are: interpretation, semantic pluralism, symbol and allegory, demythologization in symbolic texts, deconstruction, grammatology, author death theory, intertextuality, ambiguity and Meaninglessness (ambiguity), apostrophe and Multifaceted, deconstructive and Multifaceted connection with didactic and theological poetry, Multifaceted and social commitment in poetry and literature. In his critical works, he has sometimes directly analyzed and studied these issues, and sometimes, as a special approach, he has so absorbed and digested and absorbed them in his works that he has appropriated them as a discourse.

When Amir Omar Khan was ruling (1225-1238 AH/1810-1822 AD), Khoqand experienced one of the most productive historical period in the 19th century. During the ruling of this poet Amir and his poet wife Nadereh (1792-1842AD), all the literary and cultural aspects not only in Bukhara and Samarqand, but also in Khoqand improved, and a large number of poets from different areas of Transoxiana and the neighboring regions moved to the new cultural capital. These changes could be traced in Fazli Namangani's Majmouat al-Sho'ara, the poet of the Khoqand's court.
Research method, background and

The main problem of this research is to investigate the role of Fazli Namagani and his biography in the anthology of Persian poetry in Khoqand and the neighboring regions. The assumption is that he was one of the court's poets in the 13th century AH/19th century AD, who could revive the declining Persian poetry after the poet Amir and the ministers supported him to write the first bilingual biography in poetry. Despite all the problems, Majmouat al-Sho'ara is a unique source in the Persian-Turkish/ Uzbak anthology which illustrates the literary environment in Khoqand in late 18th and early 19th centuries, and gives suggestions for later biographers in Transoxiana.This study uses a descriptive-analytical method for introducing Fazli Namangani and his biography. It, then, categorizes the critical views of the biographer into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic.

Abdolkarim Fazli Namangani (Death after 1822 AD), known as Fazli, is a poet, historian, and bilingual biographer of Namangan. After his education in his hometown, he traveled to Khoqand, the capital of Farghaneh Khans, and became an affiliate of Omar Khan, the art lover and bilingual poet of Farghaneh. After a while, he became the great poet of the court. However, when his supporter died, he came back to Namangan and passed away there in 1822 AD. There is no clear evidence of his dates of birth and death. In addition to some references in the anthologies and collection of poems, there is a Persian-Turkish/ Uzbek Divan attributed to him in some Uzbek, Tajik, and Persian resources. The most important work of Fazli, the biography of Majmouat al-Sho'ara in poetry, provides a short poetic review and 93 sample poems of the court poet, Amir Omar Khan Khoqandi, through a series of verses. Majmouat al-Sho'ara is a biography in poetry, written in Persian and Turkish/ Uzbek by Fazli after Amir Omar Khan asked for it. This biography is the first biography in poetry in which the names and sample poems of different scientists and poets of the Khoqand's literary environment are mentioned. It also gives reliable information regarding some related regions such as Afghanistan, Bukhara, and Khawrazm in the first half of the 13th century AH. Fazli's biography could be divided into two sections based on the content, selection, and gradation of the poets and the sample poems: introduction, and the main text including Bahr-e Tavil, ode, sonnet, fivefold, chronogram, among others. The language of Fazli in Majmouat al-Sho'ara is Farsi (as the poet claims), despite the fact that there are Transoxianaic accent permeating the phonological, lexical, and syntactical levels. In comparison with the other Farsi biographies in the region, Fazli's biography has a less critical feature because of its affiliation with the court and absolute imitation, condensed materials, and poetry genre.

Fazli Namangani wrote the first bilingual, Farsi and Turkish/ Uzbek, biography in poetry in Transoxiana in the third decade of the 13th century due to Amir Omar Khan's order. There are short poetry reviews on the life and sample poems of 93 poets in the literary environment of Khoqand and the neighboring regions. The biography should be considered the only research work regarding the literary changes of the region in that time. Fazli's critical perspectives in the biography gives an opportunity to the traditional literary criticism researchers to categorize his evaluations into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic. This can shed light on the character of the great poet. Although the biography is written according to the Amir's mentality, many aspects could be found regarding the poetry anthology and Persian language in the region. This can help us sketch out the literary changes of Persian literature in the region.

Afzal Makhdoum Pirmasti is a literary figure, poet, and biography writer from Herat, Bukhara (death: 1916). According to the author in the introduction, he wrote Tadhkirah of Afzal-al-Tazkar fi Zekr-al-Sho’ara va al-Ash’ar, also known as Afzal’s Biography of Poetry, asked by the then- emir of Emirate of Bukhara, Said 'Abd al-Ahad Khan (1886-1910), in 1904 about 137 poets of his time in the literary environment of Bukhara and the Persian speaking regions - who lived in Bukhara - from 1787/1788 until the year of compiling the Tadhkirah. There little is known about this author and his biography writing. The scientific resources in Afghanistan, Tajikistan and Uzbekistan are not without pitfalls. Thus, this study aims to introduce biography writing in general, and Afzal's Biography and critical ideas in particular. To achieve this aim, content and document analysis is employed focused on this genre to pursue the following questions: who is Afzal Makhdoum and what are his critical ideas in the biography? What is the role of the Afzal's Biography of poets in the literary Persian biography writing and the anthology of Transoxiana? The findings show that Afzal's Biography of Poets is an independent, regional- contemporary prose in the Persian language. His critical ideas could be classified into five categories: historical-interpretive, moral, political-social, rhetoric-aesthetic. The biography plays a significant role in the area and is considered as one of the main resources of the Persian literary anthology of the 19th and 20th centuries in Transoxiana. However, this Tadhkirah was written by the author on the orders of Then-emir, As a result, he interfered with the court and the personal interests of the emir in presenting critical views, Due to the important role he played in reviving the names and works of her contemporary poets in the literary environment of Bukhara,  he immediately attracted the attention of poetry and literature enthusiasts of this period; so that, has always been one of the main sources for researches on literary environment of of Bukhara and its related areas.

Molla Abdolmotaleb Khajeh, also known as Fahmi (death after 1286 AH), is a biographer from Transoxiana. There is little known about his personality, and some of the evidence from Tajikestan and Iran are rather faulty. This study aims to introduce this biographer and his categorization of biography, and then analyze his critical views. The content and genre analysis of the study attempts to answer the following questions. Who is Fahimi? What are the features of his biography? What are the author's critical views? What significance does this biography have in the Persian literary history of Transoxiana? The findings show that Fahimi's biography is a general independent unfinished prose in Farsi which was written in the 13th century AH, ordered by Haj Molla Mohammad Toughsabeh who was a military member of the then-Bokhara. Fahimi's critical views could be categorized into four groups: historical-analytical, moral, political-social, and rhetorical-aesthetic. Although the biography under investigation is an unfinished work, some rich data could be extracted about the Persian literature and the social and mystic understanding of the era, which could all be contributive to the history of Persian literature in Transoxiana.

Except for the lost work of Managheb al-Sho’ara (early 13th century) written by Abo-Taher Khatouni and the scientific-literary magazine of The Four Essays (Chahar Maghaleh) written poetically by N. A. Samarkandi (circa 1156), Lubab ul-Albab is the first literary biography written by ‘Aufi Bukharayi (1222). When Iran and Transoxiana were divided politically in the 17th century, this genre was still kept common through the publication of five biographies in Transoxiana. Transoxiana was in the constant struggle because of its politico-economic instability; constant struggles among the Khans in the region, and the wars in Khorasan border, all in all blocking the literary and cultural flourishing of the region; however, in 1871, Rahmat-Allah Vazeh Bukharayi (1818-1893/1894) revived this literary genre after 179 years through his biography entitled Tuhfat al-Ahbab.

Rahmat-Allah Bukharayi, the son of Mohammad Ashur, wrote under the penname of Vazeh. He was a poet, writer, and an Iranian biography writer from Bukhara. This study aims to explore the role of Vazeh Bukharayi and his biography in reviving the tradition of Persian literary biography writing in the literary environment of Bukhara in the second half of the 19th century. The assumption is that Tuhfat al-ahbab fi tazkirat al-ashab became the model of biography writing for five other writers in Bukhara in the late 19th and early 20th centuries because of the originality of the oral and written references, its comprehensiveness, the writer's fame, and the employment of the biography writing criteria in selecting the poets and poems. 

To answer the research questions, the study employed an analytic-critical approach to introduce Vazeh Bukharayi, and then analyzed the nine criteria significant for the biography writer. 

Vazeh Bukharayi's ancestors were a group of enforced immigrants from Merv under the rule of Amir Shah Morad Manghiti (ruling from 1785-1800). They moved to Samarkand and Bukhara in the early 18th (1785) century after Merv was destroyed. Vazeh was born in Bukhara and lost his father and family when he was beginning his education. However, he could finish his education in Bukhara at the age of 27 in 1844. He is most famous for his biography writing. Tuhfat al-Ahbab fi Tazkarat al-Ashab or Ghari Rahmat-Allah is a regional-epochal biography in Persian. Vazeh's biography uses a dual simple and literary language of Persian and Bukharayi’s Persian accent. The biography consists of three parts: introduction, body, and conclusion. The introduction and conclusions sections are very concise and short. The biography writer has alphabetically listed (based on their pennames) the life and works of 148 poets, scientists, Persian literary figures living in Bukhara and the surrounding region in the Manghiat era. Some other poets from the literary environment of Mings in Kokand, particularly under the rule of Amir Omar Khan Kokandi (ruling from 1810 to 1822) were noted as well. Moreover, the biography describes the career of 14 Afghan poets, 6 Qajar poets, 6 Iranian immigrants from Merv to Bukhara, 4 Indian poets, and 1 Bulgarian poet (Kazan, Russia).   

Rahmat Allah Bukharayi revived the genre of Persian literary biography writing in Bukhara after 179 years through the publication of Tuhfatal-Ahbab fi Tazkarat al-Ashab, selecting poets from the literary environment of Iran, Afghanistan, and India. This brought the literary mainstream, particularly in Iran, back to Bukhara. He established a novel approach in style and language, by avoiding the Bideli's superficial and complicated style. In this regard, Vazeh could be viewed as the survivor of the traditional Persian biography writing in Bukhara in the 19th century after Mohammad Badi' Maliha Samarandi, who wrote Mozkker al-Ashab in the late 18th century. All the literary and historical biographies authored in the Persian and Uzbek region in the 20th century are in debt to that of the Vazeh, meaning that they could all be a complementary work to Vazeh's biography.

Gulrukhsor (1947- ) is one of the most prominent representatives of nationalism in contemporary Tajik poetry. By experiencing cultural nationalism and by taking refuge in national and ethnic memories, she creates a deep sense of nostalgia in the addressee towards the past. This paper is an attempt to find out what definition of homeland she has expressed in her poetry from the time Soviet Union until now. Based on the tenets of Romanticism, the analysis of her poems showed that the poet has had three different and interrelated concepts of homeland in mind: geographical, historical and cultural. In her geographical homeland, she inclines towards the nation. This notion of homeland was an inseparable part of the cosmopolitan socialist framework of the Soviet Union, called the "great homeland". Regarding her historical concept of homeland as outlined in Tajik literature in the 1960-1970th</sup>, the poet has referred to the historical genesis of her ethnic group to rehabilitate it. Finally, in her cultural homeland, which is special to her mental-ideational system, the poet achieves a novel conception of homeland according to the teachings of Shahnameh not found in any other writing. Thus, all Persian –speakers come together in Shahnameh and become compatriot.

Being simultaneous with the political changes in the political geography of the Transoxanien region and turning to the Central Asia and consequently to the five-council based republics, the concept of homeland in the Tajik contemporary literature has gone throng major changes. The main issue of this research is the study of the transformation of homeland’s concept in contemporary Tajik literature from the period of acquaintance (1905-1870) to independence and national self-consciousness (1991) in the context of periodization of this contemporary tradition. This concept has experienced what changes during the 145 literature? The writer has used a descriptive – analytical method based on Literary Periodization under the theory of literature history to analyze the changes of this concept and its relations with the Persian speaker’s world and Iran. Accordingly and during this period, the formation of political developments directly affected the concept of homeland, first isolated it from religion, and then incorporated it into the framework of the city of Bukhara. Thus, throughout the period of Soviet Union the concept of homeland has had the ideological load and been tied to the notion of socialist thought and cosmopolitanism. Furthermore, it has been linked to the concept of common culture and history with Aryans after the period of independence. The research results will pave the way to take an effective step to scrutinize the literary and intellectual currents of Persian speakers in the region and are also useful to cultural -regional policy makers.

Nowadays, Persian-speakers are solely the inhabitants of Iran, Afghanistan and Tajikistan. In spite of different nationality, the people of these three countries belong to the same culture. Thus the main objective of the current research would be the analysis of national identity of Persian-speakers in the poetic heritage of Gulrukhsor Safieva (born in 1947); Tajik contemporary poet. According to theoretical of Romanticism, the author has analyzed and classified national identity of Iranian people into five major categories including: native land (Ariana), mythic and national system (nation of sun (, national origin (Iran and Turan), national language (native language), national masterpiece (Shahnameh and its reproduction). The analysis of poets’ divan showed that tendency to refer to the macro-structures of national identity has been in constant relationship with socio-historical context of poets’ lifetime. This tendency has been highly significant in the period of independence and influenced the poet ideational and mental evolution.

The coincidence antagonists action in a selection of Iranian folk-tales (with a special attitude towards structural narratology) Saboureh Rangraz1 Dr. Asqar Fahimi Far2 Dr. Ebrahim Khodayar3 In this research, four Iranian tales have been selected as a case study deposit to be checked according to theories of contemporary narratives, actions, with a special attitude to “similarities between the action of antagonists characters in folk-tales. The present research focuses specially on “antagonists actions” in these folk-tales and aims to reveal that similar action in these stories how and with what qualities of the stories have been created by storytellers in a variety of ways despite the characters of these stories. The main question of this article is that what are the fundamental similarities between the actions of antagonists characters in Iranian folk-tales? In what basis do these antagonists actions form? This research intends to classify the frequency of action patterns in antagonists characters and reveal the similarities in their actions in a comparative way. The present research using the collected library information during the analytical and descriptive research stages, concludes that in spite of the existence of similar and common actions and the production of all kinds of “identical evils” by antagonists in folk-tales, the content of their actions follows the inhuman behavior of antagonists characters in these stories. 1. Graduated Master from the Research of Art, Tarbiat Modares University. (Corresponding Author) 2. Associate Professor of Research of Art. Tarbiat Modares University. 3. Associate Professor of Persian Literature. Tarbiat Modares University.

Any discourse constitutes of several propositions and discursive formations that are created by focusing on the political, cultural and social conditions of each era. During the rule of Fath- Ali Shah Qajar (1772- 1834), the dominate literary review discourse; which is considered the very traditional discourse, was formed based o the perception system that was governing an era in which, the royal court was recognized as the producing institute of the mentioned discourse. The main purpose of this study is to investigate the role of the literary discourse of return in images specific to Fath Ali Shah Qajar with regard to the political, social, epistemic contexts and the system of knowledge or spirit of the time.If we admit that until then, Iranian painting and Persian literature have been more or less intertwined; it must be said that as the literary discourse of this period was formed, visual norms in FathAli Shah’s portraits also changed and new features emerged that were not unprecedented in past centuries. In the present study, the authors have attempted to examine how literary discourse led to the formation and influence of king's icons in court, based on Michel Foucault's theory of discourse as a methodological model and an interdisciplinary approach.Studies show that during this period poetry and poetic descriptions continued to be a source of inspiration for painters.Therefore the images of the King became more unrealistic and his aura of holiness grew larger. The king's body also became more intangible and metaphorical.

Since the second half of the eighteenth century, Bedil (1644-1720), has been one of the most popular poet of Persian speakers in Central Asia whose heritage became the source of professional audiences for Persian poetry. Whatever their linguistic and cultural origin, they interpreted this heritage according to their mental antecedents and interests. Based on the achievements of philosophical hermeneutics, the author seeks to find an answer to this question: besides the characteristics of Bedil's heritage, what are the social and cultural fields of the region that led to the adaptation and interpretation of his poems from the public viewpoint? According to the results of this research and besides the fact that Bedil's ancestors migrated from central Asia to India, the main reason for the attention of the local audience to Bedil could be Bedil's worldview, the readability of his poetry, and the developments in Central Asia during the second half of the nineteenth century and the beginning of the twentieth century, the emergence of new intellectual tendencies in the region which has, on the other hand, contributed to the formation of this type of reading.

In recent decades, the concern of many scholars of Iranian cultural issues has been the historical experience and historical role of Persian language and literature in cultural Iran (the field of common civilization with Iran), as well as the converging and diverging characteristics of this realm. The main question of this research is to study the barriers and approaches to develop the Persian writing system, language and literature in the context of the theoretical and conceptual framework of so-called cultural Iran. The research methodology of the current study is descriptive and field research. The results demonstrated comprehensive set of macro and micro barriers and approaches in the field of language planning, policy development and implementation. In this regard, some institutions have taken this responsibility.