javad taheri

Non-verbal communication refers to the behaviors in which a person is able to convey a message and communicate with others without speaking. Non-verbal communication also includes those effective aspects of the environment that affect the interaction, such as jewelry, clothes appearance and facial expressions of people. Since non-verbal communication or body language is a more honest language due to its semi-consciousness, the present research aims to emphasize the important role of non-verbal communication or body language components in the creation of literary texts and its effect on the quality of transmitting and inducing emotions and thoughts. And the inner thoughts of the poet, he tries to present a new way of analyzing the texts to the deeper layers of the poet"s mind and unconsciousness.

The present research has been carried out in a descriptive, analytical and inductive way. The method of collecting information was also in the form of a library.

For a person, verbal communication is the same as language communication and speaking, which includes writing and speaking. But non-verbal communication has a wider scope, all kinds of the signs and symbols manifested by the states and movements of the organs, physical contact, accessories, environmental factors, space, language, silence and clothing, including all visual and auditory signs,, and has a significant role in communicating, sending messages and influencing people and groups. Since poetry is not only linguistic signs and is closely related to non-verbal communication and its signs, examining the components of non-verbal communication will provide a significant ability to decipher poems and gain a new understanding and reception of them.

The results show that, firstly by using non-verbal communication and connecting it with sound and speech, Forough has added more meaning to the performance space of her poems. Secondly, she has used visual actions and eye expressions to express emotions and feelings. The result is that non-verbal communication in Forough"s poetry is sometimes used to complete verbal communication, sometimes it replaces verbal communication, and sometimes it violates verbal messages.

Nonverbal communication, or body language, is one of the essential tools that any discourse consciously or unconsciously utilizes to construct its visual messages. In poetry and literary texts, due to the inherent limitations in fully, accurately, and flawlessly conveying the poet’s embedded concepts and emotions—caused by constraints such as meter and rhyme, lexical deficiencies, and the lack of appropriate conceptual equivalents, particularly for expressing emotions such as anger, fear, joy, and sorrow—the poet is compelled to use another language known as body language or nonverbal communication. This form of communication often proves to be more truthful and expressive than verbal language and oral expression.This study, emphasizing the significance of nonverbal communication in literary texts, aims to provide a practical model for analyzing the functions of nonverbal communication in Shamlu’s poetry. Using a descriptive-analytical method, the study examines, extracts, and reports these functions. The findings indicate that although all six functions of nonverbal communication are present in Shamlu’s poetry—sometimes reinforcing and complementing meanings and at other times contradicting verbal communication—the substitutive and conflicting functions are more prominently manifested.

The beginning of the story is the threshold or the portal that leads us to the world of the story. The beginning of the story, which is the most important part of the story, is the opening through which the reader enters this boundless world and is basically an entrance for the reader to enter this new world. The purpose of the author in this entry is to encourage and encourage the reader to continue reading the story from the very beginning lines. Shahriar Mandanipour, who is one of the third generation writers of story writing and is aware of the principles and techniques of story writing, has used various elements to start his stories.Conflict, dialogue, mystery, description, characterization, composition, documentary, flow of the mind, scene, etc. are among the mechanisms of the beginning of the story in his collection Blue Beyond the Sea. After examining the theories related to the beginning of the story in a descriptive-analytical method, the present research identified the opening sentences and phrases of eleven short stories of this collection and analyzed the mechanisms of the beginning in them. The findings of the research show that among these mechanisms, ambiguity and complexity are the most used and most frequent ways of starting in pre-told stories, and the reason for this can be the very strong imagination of the author. The findings also show that description plays a central role in the beginning of all the stories in this collection.

Rimmon Kenan, in her book ‘The Art of Narrative Expression’ has introduced a theoretical-applied framework for analyzing different types of narratives from the point of view of structural narratologists. The present research has analyzed this framework, taking into account the two elements of time and characterization, in the collection of stories of ‘Somewhere Else’ by Goli Taraghi. The purpose is to use the descriptive-analytic method to analyze the capabilities of the structural-applied model of narratology in time components, including temporal elements, spatial components, and characterization from the book ‘The Art of Narrative Expression’ in rereading the two stories ‘Unfinished Game’ and ‘Somewhere Else’. The findings demonstrated that in the two components of time and characterization, in ‘Unfinished Game’, the occurrence of travel with retrospective anachronism, at the level of the story, caused the main character's reopening of the mental complexes, which had influenced his actions for years. In the characterization of the story ‘Somewhere Else’, the main character of the story has reached a spiritual transformation in terms of self-knowledge and connection with his spiritual interests. As a result, the reader is convinced and goes along with the story which is currently sought by the application of cognitive narratology in the field of postclassical narratology. 

The modern novel is a new form of writing that always seeks to find emotions, vague mental impressions and the escape of people and then convey them from an objective and impartial point of view that belongs neither to the narrator nor to the reader. A writing that lacks transparency, explanation of values, principles of traditional order, humanitarian descriptions, politics, etc. Factors such as uncertainty, absence of cause and effect relationships, presentation of new topics, defamiliarization of traditional concepts of the text, ambiguity and complexity, serious presence of the reader are the components that exist in the structure of this new literary form, some of which can be compared in Tangsir's novel. Sadegh is Chobak. In a way, Chubak's language and writing in Tangsir is intended to create a new concept that has a mixed approach to challenge the originality of the traditional language. Chobek's unique form and techniques in Tangsir, including mixed time, linear and discrete plot, multi-instrumental beginning, closed ending, evolved characters, presenting a new concept, monologues are components that can be used in two classical and modern story structures. compared writing. The purpose of this research is to compare the modern and classic novel components in Tangsir Sadeq Chubak in a descriptive-analytical way and in a library way. The findings of the research show that Chubak is a modernist writer because he was able to present a new form of writing that was unprecedented until then with the influence of the modern literature of the world and his inherent genius. Also, the findings of his research show that Chubak sometimes used composite time in the novel Tangsir and brought it close to the flow of the mind, which is a completely new method, and he even tried to break the linear pattern in parts of the novel and make it discrete and Provide art.

Existentialism is one of the most important philosophical and literary schools in the world, in which the human person is recognized as a conscious agent and in the experience of existence and also the touch of the meaning of existence, he directly faces the truth of existence, the emptiness of his life. understands Ontology or existentialism talks about man and his originality and emphasizes the priority of existence over nature and knows everything from that man. Also, examples such as human responsibility, human individuality, the vastness of the world, apprehension and anxiety, freedom, loneliness, isolation, and border situations are clear and obvious manifestations of the philosophical school of existentialism, which are found in contemporary poetry and in the poems of Akhwan. Third are also used. The Third Brotherhood lived in a period when existential thoughts influenced his works, and in fact, this poet's thought interacts with Sartre's thoughts. In this research, which was compiled using a descriptive-analytical and library method, it is possible to get an image of the school of existentialism in this poet's poetry and realize the mutual connection between her thoughts and Sartre.

One of the most important elements in the emergence of artistic creativity is the use of color. In fact, color is one of the special elements that can reveal many secrets and achieve many hidden secrets through knowing its characteristics and effects. Poets, as aestheticians of the universe, have used colors in their poetic images and sometimes used them to explain the inexpressible concepts and symbolic space of their poems.In this research, which has been carried out using a library method, while presenting poetic evidence from the poems of Ferdowsi Toosi and Bashar Ben Bard as the studied poets who have used colors in some way, analyzing the methods and how they use color in literature, symbolism and rhetoric (especially of black and white color) in inducing the message to the audience.The results of the research show that black and white colors in these poems of Ferdowsi and Basharban have a high frequency compared to other colors. Ferdowsi and Bashar Ben Bard have made good use of the huge capacity of colors to convey their thoughts, intentions and messages in various social, cultural, religious and political fields in a real, ironic, symbolic and mythological space to their audience.

Exploring the Interpretation of Meaning in Shahriar Mandanipour's "Violet Orient" through Roland Barthes' CodesViolet Orient (Sharghe Banafshe) is a significant short story by Shahriar Mandanipour offering diverse interpretations and symbolic meanings. This article employs Roland Barthes'analytical framework, consisting of five codes: hermeneutic, action, symbolic, connotative, and cultural, to delve into the layers of meaning embedded in the text. By a descriptive-analytical approach, this study aims to navigate the various levels of interpretation within the story, emphasizing the conflicts that arise among interpreters and facilitating the exploration of its meanings. The research findings reveal the presence of four codes: hermeneutic, action, symbolic, and connotative, and certain signs possess the potential to encompass additional aspects when interpreted, enabling readers to access other codes based on the significance of these signs. Notably, "Violet" is a crucial hermeneutic code within the narrative, warranting further investigation and analysis.Keywords: Literary theories, Violet Orient, Codes, Roland Barthes, Multivalence

Centralization is a challenging and emerging perspective in the field of narrator discussions and perspective in narratological theory that discusses the perceptual aspects, emotional and ideological reflection of the narrators and focuses on who sees the world of fiction. In this article, an attempt has been made to examine the story of "I turn off the lights, Ms. Zoya Pirzad" from a focal point of view and in psychological terms. The reason for choosing this approach is that in this story, the author has explicitly and explicitly used the category of "who sees" in the context of centralization. The first person narrator of the story, Clarice, by focusing her attention and perception on the mindsets and inner selves of her identity and those around her, finally at the end of the story changes her worldview to the narratives of identity, gender, love, emotional and cognitive issues in the field. Psychology and social challenges.

This article analyzes the content of the data from the perspective of centralization and from the theoretical point of view of post-genetic issues and what Raymond Keenan has considered from the story of I turn off the lights and then analyzes the content of this data.

The story of the lights I turn off is a reflection of a woman"s focal point of view in contemporary fiction of the eighties. As the focal point of the story, Clarice focuses on the past and the present and seeks her identity, part of which is her ethnic heritage in the collective subconscious. What affects her feminine identity, and by focusing on it, she intends to align the audience with it, is the need for the attention of others and the avoidance of criticism.

In centralization and its emerging topics, the audience becomes acquainted with the perspective and worldview of the reflectors of the story to their inner and outer world and sees the invisible. By analyzing centralization, it is concluded that Clarice, by focusing on inner thoughts, psychological aspects with cognitive, emotional, and ideological dimensions, can reflect her lost identity and lack of intellectual independence. Achieve a mirror of her life performance and in this reflection achieve her change of attitudes towards the roles of female identity, wife, mother, family and a social activist. It also reflects and challenges its pessimistic thoughts, which are the result of ethnic subconscious heritage, and forms new changes with a new focus on life and community, and the family.

Conclusion is one of the most important topics in narratology. The ambiguity and complex structure of the postmodern story, following the form, leads to various conclusions that make the understanding and reception of the results confusing and optimistic for the audience. In modern fiction, Bijan Najdi has created works by breaking the classical form and structure, which has led to various types of endings, which are in the form of rotation or rotation, multiple endings, parallel or parallel, endless end, false, open, definite, proposed for you. The use of these new techniques in the endings of the story by Bijan Najdi has not only contributed significantly to the attractiveness and variety of his works, but also shows his artistic creativity and high writing ability, so that in each of his stories, different examples of these forms can be seen. In this way, the present study, with the aim of explaining the types of endings in Najdi's postmodern novels, descriptively-analytically studies the stories of two groups of cheetahs that ran with me again from the same streets.

Existentialism is one of the central concepts of Nietzsche's thought, which is clearly reflected in contemporary poetry, especially in Shamloo’s. Prominent examples of it, including the primacy of existence over nature, commitment and responsibility, individuality, the exaggeration of life as well as the world, death and demise, freedom, apprehension and anxiety, loneliness and solitude in Shamloo's poetry are fully represented by the artist. The present research which is done by descriptive – analytical method, studies the relationship between literature and other branches of the humanities based on the comments of American School of Comparative Literature. It seeks to answer the question: how existentialism thoughts were developed in Shamloo’s mind and language and what was his thought and philosophy of existence focused on? The main purpose of the present article is explaining and drawing existentialism in Shamloo’s poetry according to Nietzsche's views. Findings of the research show that Shamloo has had a deep connection with existentialism topics and thoughts, and existential concepts and concerns have been reflected in his poems in a contemplative and very high frequency. These concepts intersect with Nietzsche's existentialism views.

"The diversification of the hadith source" by Ibn Tawus in the seventh century (673 AH) was a milestone for far-reaching and great changes in the Science of Narrators. Some have rejected such rulings, and given the non-monopoly of the evidence in the document, fundamentally repudiate the Science of Narrators. Naturally, a subsequent development was narrowing down the circle of authentic and reliable hadiths. On the other hand, the new principles of the Science of Narrators provoked ambiguity in the future ideas on Science of Narrators. For instance, it cast doubt on views of Allameh Hilli on modification of methods and documents. On the other hand, the huge effect of this division promoted the Science of Narrators. As such, informed by the new definition of "reliable hadith", some turned to "authenticity of document" and others revisited "classification" and "conditions of the narrator". This article aims to explore the effect of diversification of hadith sources on the Science of Narrators.

The objective of this article is to show that it is justified to assert that the existence of God is plausible, considering the fact that thinking itself is an immediate outcome (effect) of a thinker (cause). This idea may seem evident, but it is in fact challenged by certain claims of cognitive philosophers who aver that our knowledge of necessity and causation is, in the final analysis, bounded by our naturalness. That is to say, what we understand of necessity and causation is originally based on root-experiences we have had from the early moments of our birth onward or even before our birth.
This article tries to display that giving a model for a kind of necessity which is not essentially built upon the naturalness of human experiences can negate the universality of believing in the naturalness of human understanding. With this, one can prove the probability of the existence of a Necessary Being, whose necessity is different from the so-called embodied necessity. However, the Necessary Being is not equal to all conceptions of God, but it is equal to some of them. The article concludes that the probability of the existence of God (of a particular kind) is an inevitable outcome, even with the presupposition of cognitive philosophers.

According to modern religious studies, religions are rooted in certain metaphorical representations, so they are metaphorical in nature. This article aims to show, first, how conceptual metaphors employ image schemas to make our language meaningful, and then to assert that image-schematic structure of religious expressions, by which religious metaphors conceptualize abstract meanings, is the basis of meaningfulness of religious language. Authors benefit from cognitive theories of some eminent semanticists, such as Mark Johnson, Jean Mandler, George Lakoff, et al., on metaphors. There are, as described by cognitive semantics, many preconceptual patterns that constitute a network of meaningful image-schemata upon which our primary knowledge is grounded. It is argued that image-schemata are inherently meaningful, and conceptual metaphors by using these image-schemata transmit the meaningfulness to the religious representations.

The architectural style in each era reflects the prevailing thoughts and discourse in that time, and man occurs to have different thoughts and views as a result of social and cultural developments. The prevailing discourse in each era requires a different view and interpretation. One of the issues need to be addressed from a different point of view in the time of Hafiz is architecture in his poetry. Architectural terminology has widespread range in Divan of Hafiz. Interestingly enough, the terminology is used along with mystic and ambiguous words, which opens the way to a new perspective towards the art of Hafiz that has been unexplored. By studying the said terminology, one can get to know the aspects of sciences in the above mentioned eras such as anthropology, sociology, architecture, etc. and bring to the surface the aspects which remained ambiguous. Obviously, it cannot be asserted that Hafiz has used these words together consciously or unconsciously. Among the geometric figures including square, triangle, circle, etc. in architecture, Hafiz is mostly inclined towards circle. This paper seeks to find the reason why Hafiz prefers circle over other figures in his Divan.

The old historians would prioritize the text and consider the history as background. They believed history is an accurate reflection of real events and that historians illustrate the events without any favoritism or discrimination just as they have taken place. However, modern historians believe the opposite and reiterate that the whole history discloses the mentality, because it is written by people whose personal biases have influenced their interpretation of the history. These historians state that the history is one of the many discourses or ways of seeing and thinking about the world. The present paper studies Parrhesia discourse analysis in the story if Hasanak the Vizier based on the theory of modern historians. Parrhesia is a Greek term meaning honesty derived from Greek texts by Michel Foucault. Parrhesiastes is one who expresses whatever goes on his mind openly and truthfully. The question posed in this study is that can we consider Sultan Masoud and Hasanak as Parrhesiastes according to Foucault’s idea? Thus, the story ofHasanak the Vizier is analyzed according to the linguistic cycle.

The rationally and theologically analyzed meaning of Badā, as one of the most fundamental theological doctrines of the Imamites (Twelver Shiism), is not heretical but is compatible with Intellect and Narrations. The Sunnites disapprove Badā in their narrative and theological works and regard it as a heresy. On the contrary, the Imamites believe that if the real meaning of the term is clarified, which is the main purpose of the present paper, all Muslims will accept it. This paper briefly reviews the views of famous Sunnite scholars regarding Badā, and then by using analytical method discusses in detail the idea of Shiite theologians about this concept. Critical issues such as literal and technical meanings of Badā, the difference between Badā and Naskh (Abrogation), the relationship between Badā and God’s knowledge will be discussed. The article concludes that Badā is a concept compatible with the two most important sources of Islamic doctrines, that is, ‘Aql (Intellect) and Naql (Narrations); we are drawing on these two sources because of their relationship with Shiism and Sunniism as two Islamic sects.

Monzavi is a one of the main innovators of new Lyric considering the values, outstanding and unique capabilities of classical poetry, he has ornamented his poetry with the techniques and delicacies of the modern Poetry. In composing his sonnet, he has used the techniques and innovations which distinguish the appearance of tradional Lyricisin and created lyric poem in a new Way of singing. This article intends to review innovations and special features of his poems

Badā is an important concept in Imamite Shiism. The Sunnis, in their narrated theological works, disapprove of Badā as heretical. Imamite Shiism is of this belief that Badā’s appropriate delineation can pave the way for its acceptance by all Muslims especially the Sunnis. That is why it has made considerable efforts to achieve this aim. The present article first discusses in brief the beliefs of famous Sunni scholars regarding Badā and then continues with the discussion of the Shiites’ major rational and narrative discussions on Badā.

In a loose sense of the word, the doctrine of “Trinity” can be seen as the most important doctrine in the Christian theology. The generation of many controversies concerning trinity from the beginning of Christianity, holding the different councils of the church, flourishing of a movement called “Heretic” against the official church and the codification of a rich terminology about the trinity, all testify that the mentioned claim is the case. In this paper, it is tried to explicate how the different attitudes are taken to the terminology of the doctrine of trinity and related doctrines. In this regard, debates and terms in the theological protestant context are more discussed than Roman Catholic ones. The main topics discussed in this paper are as follows: the reasons of attributing different names to the triune Hypostases, effects of disputation between the orthodox faithful people and Heretics on the trinity terminology, debates on the attributes and the nature of the unique triune God, the most important issues related to the trinity in different eras and their own theological terms.

The myth of the Fall of man from the Garden of Eden down to the purgatory of alienation has been variedly reported in both islamic and nonislamic interpretations. In Christianity, humankind is, in essence, sinful. In the Quran, also, there is this revolt and sinfulness in humankind nature. However, the two narratives lead to different endings. According to the Christian narrative, Chris is sacrified to compensate for the human Original Sin. However, based on the Quranic account, Pen, in the very beginning, as a result of a holy fate, leads to the salvation of humankind and his/her sin is forgiven.The fusion of meanings, the similar original nature, and the dissimilar eventual fate have motivated the researchers to analyze the Fall of man’s myth in the light of hermeneuticism and intertextuality in Forough Farokhzad’s poetry.

Khaje Nasireddin Tousi has played an important role in promoting and prospering the mystic thoughts. Avicenna's two great books of "Osaf Al Ashraf" and "Avicenna's Allusion" bear witness to the above mentioned fact. This book, though small in size, is very rich in terms of content, and Khajeh's mystic thoughts are well defended therein. He doesnt claim whatsoever to be a mystic or with extensive mystic experiences; however, he attempts to carry out an intellectual evaluation and a logical regulation of the ritual. Theaforementioned epistle has been organized into six episodes, each of which into six chapters except its chapter six. This study is aimed at shedding light on the first episode of the spiritual journey in Osaf Al-Ashraf.