vahid hayati

Undoubtedly, paying attention to philosophical thoughts has a great effect on shaping film theory and the formation of artistic and cinematic works . The analysis of the film from the perspective of contemporary theories is derived from the foundations of nominalism and conceptualism, which cause many ontological and epistemological problems according to the philosophy that shaped it . The analysis of film representation from the perspective of phenomenology, in the analysis of different dimensions of the film such as image, sound, narrative, content, reception and perception of the audience, brings important and different results . By briefly examining the nature of artistic representation in the theory of phenomenology, while paying attention to the important components of this theory, this article tries to value the different and influential attitude of this thought in film representation, unlike traditional theories that focus on the content, structure and process of filmmaking. In this regard, with the analytical-interpretive method, how reality and meaning appear in the world of the film from this point of view and increase the audience's experience in a deep and comprehensive analysis of the various elements of the film, such as visual language and sound, time and place, space and phenomenal place . Light and color are treated . As a result, it can be stated that this phenomenological approach not only helps to gain a deeper understanding of the story and characters, but also strengthens the audience's connection with the context and story world and increases the cinematic experience for the audience . The theory of film phenomenology emphasizes that our consciousness not only communicates with scenes through our actions, but also plays a role in their construction . This role is subject to a specific logic that is not yet fully understood.

love is one of the most important themes in the literary world of all cultures of the world, including Persian literature. And by the way, there are many theories about love. Among other things, Sternberg believes in the theory of the love triangle that the existence of components of intimacy, passion and commitment can create seven types of love. The purpose of this research is to apply this theory about women in love in three poems of Nizami. In other words, in this study, we're going to try to apply Sternberg's theory of love to women in the three lines of the mentioned poem to see what kind of love they have.

this research was done with a descriptive - analytical method. In the descriptive section, information was obtained through documents and libraries, and in the analytical section to achieve the research goal, three poems of Nizami were thoroughly studied, and the themes of emotional connections, actions and conversations of fictional female characters that imply love were extracted according to Sternberg's love triangle theory and then analyzed the content of this material.

the result of the application of Stenberg's theory of love to female characters in three poems of Nizami in this article was that four types of Love were found in them: ideal Love, Blind Love, committed love and romantic love.

The love of women in the three mentioned poems is a reflection of the collective unconscious of Iranians about love, and it seems that Nezami tried to represent this collective unconscious. The audience's general interest in this collection is based on this.

Although cinema has more capacity to inspire the sense of reality in audience than other artistic media, the reality presented in a movie is essentially different form that of real world. Cinematic reality does not originate from external world, but results from film maker's internal recreation and is ultimately a manifestation of the reality which the film maker abstracts from the external world. Citing different views and outlooks and using a descriptive-analytical method, the present paper seeks to analyze and evaluate reality in cinema. Then it reviews and analyzes the position of religion in cinema through nurturing and analyzing intellectual foundations and philosophical views about realism and reality in this medium. The theoretical reviews done in this research and other similar ones show that realist cinema as observed in some movies has enough capacity to show religious themes, given the features of religion and this type of cinema.

Sanai, a poet of fifth and sixth century, is the turning point of mystical poetry who has been able to adorn mystical prose concepts in sonnet, ode, and couplet form. According to available documents about Sanai, we are faced with two attitudes concerning his personality, an attitude which approaches his personality in a calendric and linear way and considers his engagement in mystical poems as an immediate evolutionary process trying to demonstrate this process in his works. The other attitude considers Sanai’s personality evolution as not immediate taking into account his personality ups and downs. Adopting second attitude Sanai’s poems were subject to linguistic sloppiness –smut- even at the end of his life. According to Sanai’s belief which is close to this second attitude, in this research it has been tried to scrutinize different aspects of Sanai’s spiritual evolution using descriptive-analytic method, meanwhile analyzing weather Sanai, as Shafiei Kadkani believes, has several and sometimes contradictory personalities. The findings of this research suggests Gradual evolution of Sanai and his movement towards poetic perfection.