آسیب‌ شناسی

Constructivism is one of the important theories of the 20th century that was used in different fields; From anthropology, mythology and psychoanalysis to literary studies. In the literary researches carried out in the late fourteenth century of Iran, we gradually see its use on some of the ancient Persian texts.

This research is based on the library study method following the analysis of scientific-research articles published on this topic in the seventies and eighties and the pathology of the application of the theory of constructivism on ancient texts in them.

The review of the scientific-research articles written in the mentioned time frame shows that the most important damage occurred is the lack of application of theory in many of the mentioned researches; In such a way that most of these articles - even if they have a correct understanding of the foundations and goals of the theory - can be presented in the same way by removing the title and propositions of the constructivist theory. Therefore, the theory has a redundant function in them and has been used only for the apparent validation of the research. Among the other obvious problems, we can mention things like "misunderstanding the basics of the theory", "giving originality to the theory and selecting the text in order to prove it" and "failure to obtain new results".

The use of new theories in the knowledge of ancient texts can create new capacities in the knowledge of texts, but neglecting the aforementioned damages has led to the mass production of articles that are mostly promotional and due to the lack of presenting new achievements, it also affects subsequent research. They haven"t had much.

Research on the local languages ​​and dialects of Iran and the collection of various cultural manifestations, including proverbs, leads to a better understanding of the culture and history of the tribes, preserving their dialect and culture, and finally a better understanding of the Iranian languages ​​and culture. Proverbs are a major part of the popular culture of the Baluch people, and a careful study of them will pave the way for the study of cultural patterns, social values, and sociological research.
Most of these proverbs have great moral meanings that play an essential role in teaching transcendent ideas and concepts, transmitting ethnic and generational experiences, and the advancement of individuals in society, but there are also proverbs that have negative functions in history, which have been the cause of social and cultural damage and failure. This research studied this group of proverbs by library and analytical method in order to have an increasing cultural awareness and promote rational views in Baluch society and culture. Although the number of such proverbs is limited, they have caused cultural damage in society due to their widespread use.
Cultural harms have been studied in three areas of individual, family and society along with superstitious beliefs in the field of culture. However, the findings of the current research show the highest frequency in injuries that are related to families. Nonetheless, an independent and documented research with a specific statistical community has not been done in this regard.

The scientific pathology of resistance literature research is one of the necessities of this field, which can be useful in identifying scientific problems and weaknesses and achieving research-oriented solutions and policies in this field.The research method of this study was exploratory. Information was collected through in-depth semi-structured interviews with eleven professors and experts, and thematic analysis method and MaxQuda software were used to analyze them.The categories extracted from the perspective of the interviewees about problem analysis in resistance literature include: separation of question and problem in scientific researches; The conflict between the mind and the object as the origin of the formation of the problem; Formation of the problem free from bias and resistance; authenticating the scientific method; Updating issues in the field of resistance literature and in-depth insight into them.   Damages in the field of research in two levels of scientific and research damages; And structural and organizational damages were investigated.To solve the problems at both levels, solutions were presented by the interviewees, among which the following can be mentioned:Determining policies, guidelines, and road map; Identifying strengths and weaknesses, opportunities and threats through fundamental research and situational assessment; Forming an information bank and networking of activists and those interested in this field; Expanding national and international communication by holding a conference.

Golbon (1935-2013) is the first compiler who collected all the writings of Fatimeh Sayyah (1902-1948), a Russian-born Iranian literary scholar, and published them in one volume based on the recommendation of A. Sami'i. In this book, he calls her "the founder of Comparative Literature in Iran". I have shown that this is a wrong assumption. Although I appreciate her efforts in the development of literary studies, Golbon, who was not familiar with the basic tenets of Comparative literature, had mistakenly made an unsubstantiated claim. Based on the theories of Comparative Literature I have analyzed the discourse and the content of Sayyah's writings. Golbon was a cataloger and did not have any solid conception of Comparative Literature. Sayyah herself never claimed that she is a comparatist and, in fact, her education was on French literature in Moscow University. Besides, She was not even familiar with her contemporary Russian comparatists including Veselovsky and Zhimunsky.What is important is that Golbon's wrong assumption has had a negative influence on the future generations of Iranian comparatists, i.e. anybody with the least familiarity with Comparative Literature, has, thus, entered this rather new discipline and, as a result, has made grave misunderstandings on the nature and function of comparative studies in Iran. Thus after almost seventy years, Comparative Literature, under the auspices Persian Literature, has not been able to burgeon and achieve a prominent position internationally which it deserves.

The purpose of this study was to synthesize the harms and challenges of performing qualitative-descriptive evaluation in elementary school. The method of the present study is qualitative and of the synthesis type, which has been done in 6 stages. for this purpose, scientific documents written from 2011 onwards were used to review the Theoretical and practical bases of research. In this regard, the studies conducted on qualitative-descriptive evaluation during the years 1385-1400 inside the country and the years 1990-2021 abroad as a statistical population were searched through domestic and foreign databases and by examining 74 articles and 3 books were extracted according to the set input criteria, and after performing the first level screening, 25 domestic and foreign books and articles were considered as a statistical sample. In this regard, and based on the findings, the harms and challenges of qualitative-descriptive evaluation in 5 categories: 1- Injuries related to the education system, 2- Injuries related to people involved in the education process, 3- Injuries Multi-grade elementary schools, 4- Damages related to educational tools and resources and 5- Damages related to descriptive feedback were classified and expressed. The results showed that the lack of necessary infrastructure is effective in the occurrence of these injuries and challenges, and given the importance of qualitative-descriptive evaluation in the teaching-learning process, it is necessary to take appropriate measures to minimize its harms. .

In the textbooks of prosody of schools and universities of the country, from the years after the Islamic Revolution until now, there has been a special method that is different from the traditional method of prosody. Taghi Vahidian Kamyar and Sirus Shamisa are two of the authors of these textbooks, whose books have played the most important role in teaching prosody in schools and universities over these years. Both of these authors, whose method is very close to each other, claim that their method is scientific and much simpler and more efficient than the traditional method. But since this method alone is not able to explain all the issues of prosody, they claim that they have combined this method with traditional method where necessary. Now, in this regard, the following questions are raised: Is the method adopted by these authors to teach prosody really a scientific, efficient and simple method and has it been able to solve all the problems of prosody and introduce students to Persian prosody completely? Is this method more efficient, accessible and convenient than the traditional method? Are the criticisms made by these authors on the traditional method correct? Has the method they have adopted really improved the traditional method or has it made it more complicated and difficult? Have these authors, as they have claimed, succeeded in combining the scientific method with the traditional method or not? In this speech, we have reviewed their books with a descriptive-analytical method and have shown that first of all, these two authors have accepted unconditionally the criticisms that some contemporary researchers such as Parviz Natel Khanlari, Masoud Farzad, Alul Saton and Abolhasan Najafi have made on traditional prosody and the suggestions that these researchers have made to improve the traditional method and they have followed them in their books while all these criticisms have not been appropriate and correct, and all these suggestions have not advanced in the direction of improving the traditional method. For example it has been appropriate and correct that they have placed the intersection on the basis of syllables instead of static and moving letters and have redefined foots and components of prosody on the basis of syllables, and have used the data of phonetics and phonology to explain prosodic issues and it has contributed to the simplification and accuracy of prosodic topics, but the efforts that these researchers have made with the intention of avoiding the complex issue of Zahafat from traditional method have not led to any success and have unnecessarily caused the proliferation of prosody components and the complexity of the meter classification method. Also, this acts have practically broken the relationships that the classes of meters have with each other in traditional prosody and have placed the bases of classification on the formal factors and disrupted the coherence of classification system. On the other hand, such acts of taste have caused an excessive increase in the number of prosody meters and confused the border of common and pleasant meters with rare and insignificant meters. In addition, in many cases, this critics have not been able to offer something better instead of the objections they made on the traditional method, and they have finally returned to the same things that they criticized. For example these researchers have said that only meters whose components are repetitive or alternating are balanced and they have tried very hard to scan all meters with repetitive or alternating components, but in the end they were forced to accept the meters that are intersected with three or four different components in their classification system. Secondly, in the places where these two authors have used the proposed new methods despite the traditional method, they have not explained basics and principles of these methods, and as a result, their words have come out without an introduction and vague. And it has caused students to wander. While the contents in the educational books should be cooked and tested and experienced and classic and approved by the professors of art. Any untested and unconsidered proposal does not deserve to be included in official textbooks. Thirdly, the method that these researchers have called scientific, in the other words, the method that is based on the data of phonetics and phonology, it is true that it is accurate and calculated, but it is very limited and undeveloped and incapable, and without the help of the traditional method cannot justify and explain many basic issues of prosody knowledge. While this two authors have claimed that wherever it was necessary, they returned to the traditional method and combined it with scientific method, not only did they not do this, but actually under pretext simplifying, many basic problems of prosody have been left unexplained and finally, they have referred the prosody students to the traditional books of prosody. It is obvious that if these prosody student were able to use the traditional resources of prosody on their own, they would no longer need a class, a lesson, a teacher and to get acquainted with a handful of raw and unconsidered suggestions. Fourthly, these authors have not correctly raised some prosody issues as required by their proposed method; for example, both authors have suggested that prosody students use Persian script for phonetic writing, while this task is actually difficult and causes many mistakes for beginners or, where they have placed the components of mozahaf in the row of the main prosody components, they have not counted these components completely so that the prosody learner is able to scan all the available meters, but they have only included the components that are in a small number of famous and widely used meters. As a result, these educational books cannot introduce the learners of prosody to all problems of prosodic knowledge and provide them with ground to master this literary knowledge and deal creatively with its problems.

In this study, the authors have tried to identify the types of exaggeration and study and analyze it in ritual poetry, the reasons for its entry and expansion in this literary genre in order to save poets and orators from falling into such a trap. Our target population in this study is a selection of ritual poets whose poems have had such damage more prominent; Attributing the special attributes and names of God to the Imams (as) and fabricating mythical stories and exaggerating in making people hope for the intercession of those great people are examples of content harms that in this research have been tried to deal with analytical-descriptive method.

Akhavan Sales’s poetry cannot be appreciated out of the conceptual framework which the mythological world has drawn for him. As much as the mythical thought has acted as a means of defamiliarization and thus constituted the form of his poetry, it has also laid the foundations for those harmful points, through these harms, the weakness of mentality and language of Iranian poet-intellectuals in understanding modern rationality is revealed. Akhavan, in his masterpieces such as Zemestan (Winter), Akhare-Shahnameh (The End of Shahnameh, and Az in Avesta (From This Avesta), has set foot in an area of mythological realm, where archeology and music, sanctification and demonization, nostalgia, etc., have blocked the way for any experience of historical contemporaneity. We know Akhavan from his archaic and ingenious language and his commitment to meter and rhyme and that traditional tenderness that suits his senses and emotions, and we know more that artistic device of "myth" in the structure and form of his poetry has strongly linked his art of “Khorasan” to that of “Mazandaran" (Akhavan-Sales, 1385: 13) of Nimai Yush.The point is that this artistic device of "myth" gradually "transcends the limits of its" art-making function "in the poet's" work "and, in the form of a dominant" insight "dominates the artist's mind. Thus, it takes him away from his artistic "motives" and brings him closer to "ideological" harms. As long as we are in the magnetic field of the enchantment of the mind and language of the poet, we will be unable to argue about the “what” and the “how” of his poetry. It is only by taking a "distance" and standing outside the gravitation of his artistic system that one can discuss the merit or demerit of his poetry. What we are looking for in this research is a starting point that will allow the audience to take an "ontological" look, not only at the legacy of Akhavan in particular, but at all contemporary poet-intellectuals in general.
Research Methodology,

Most of the research that has been done so far on myths in contemporary poetry and Akhavan’s poetry is of admiring nature, but lacks the pathological analysis and the distance that has been adopted in this research. Therefore, in this research, by giving concrete examples, the author has tried to discuss and analyze the artistic heritage of the Akhavan from a pathological point of view in the light of mythical thought using critical analytical method of Enlightenment thinkers.

At the beginning of this research, I will try to introduce the framework of mythical thought to the reader in a short introduction. Now, in this section, by presenting discussions on the form of Akhavan’s poetry specially from his three collections, The Winter (1335), The End of Shahnameh (1338) and From This Avesta (1344), which have formed the basis of his artistic life, in a more objective way. I also try to further explore the generalities of the aforementioned theoretical view.The Music of Akhavan’s Poetry What forms the mythical thought in Akhavan's poetry is its music. It is music that allows him to fly his mind and language to "God and beyond the desert of God" (Akhavan, 1384: 76). The magic of the music of Akhavan's poetry is the first factor that empties its poet and his audience of "individuality" and leads them to the unitary world of primitive myths. 3- 1- 1 Mythological Language Following the dominance of the mythical mythological in Akhavan’s poetry, after music, what tangibly evokes the audience from today to yesterday is the poet's retrospective language. The diction and syntax that Akhavan uses is a parole that will have no future other than the mythological past of language. 3 - 1-1- 2 Revivalism In the poem “Payam” (Message) by relying on this archaic language, Akhavan finds it possible to sanctify and purify everything that is from the "heritage of the past" with such a mythical self-confidence:3-1-1-3 Freedom The first victim that the heavy weight of a mythological past in his poetry takes in the poet's mind and language is the concept of "freedom." From the point of view of mythical thought the "individuality of the subject does not have a mentality of its own, independent of its own people and tribe, its existence is transmuted in his people. (Cassirer, 1399: 39). 3- 1- 3 - Alienation The immediate consequence of the lack of individual-based freedom in Akhavan's poetry is nothing but the sorrow of homelessness and alienation. The grief and sorrow of many Iranian poet-intellectuals should not be taken as the grief that lies in the essence of the thought which is independent and free of tradition. On the contrary, in mythical thought, "man sees himself as real only when he stops being himself and yield to imitate and repeat the actions of the other" (Eliade, 2005: 49). 3- 1- 3- 2 Spiritualism For the mythical man, the meaning of existence is nothing but the spirit of God. He sees a kind of unitary mysticism behind all the natural events and phenomena that affect him. In myth, it is "effect" that takes the place of "reason". We see Akhavan as a "sentimental" poet-intellectual rather than a "contemplative" one, and this in itself has nothing to do with the valuable merit of "feeling and emotion" which is one of the fundamental principles of any pure art. In the face of the tragedies of his time and the life around him, he sometimes shows such fervor that even deviates him from the path of decorum. 3- 1- 3- 2- 1 Epic Hero It is in line with this belief of mythical man in the spirit that the epic genre is formed in Akhavan's poetry. He is always striving for a God-hero who will save him, his society and history from deception and decay. Accordingly, Akhavan is a poet who strongly believes in God. That godly metaphors change color in his poems. Hence, God-centered metaphors are present in his poetry in different forms. 3-1-3-2-1 Tragedy Shafi'i Kadkani in his book about Akhavan, after stating: "Glory is tied to a tragic view", comes to the definite conclusion that "in Akhavan’s masterpieces, that tragic view is always a significant element and the dominant feature" (Shafiei Kadkani,-----).  What might be added to the above statement is that basically the Iranian epic is formed in continuation of the ancient myths of God. In tragedy, the fame and defame of the epic hero comes out of nothing but his “confrontation with death" (Farhadpour, 2007: 1386) By pondering on the fate of the epic heroes that Akhavan portrays in its famous poems, it is easy to see that they are engaged in a kind of ritual act rather than a "tragic death" and thus are away from feature of tragic hero. 3- 2 Ideology of Myth The lack of historical realism in Akhavan 's poetry, which has led to a kind of hostility to the present and a desire to change it, is an immediate consequence of his mythical thought, which, like an absolute "ideology," has always blocked the way of free thinking to him and his fellow intellectuals. It should be said that this is the very essence of ideology, which "constitutes a set of discourses, images and concepts through which we live our relationship with historical reality" (Ferter, 1392: 110). For instance, the idea of duality finds such a place in the mythically tainted mentality of Akhavan that sees everything in black of the Demons or white of Amshasbandan. 3-2-1 Conspiracy Theory In the black and white mental world that the poet and his intellectual followers live, everyone is an accomplice with "Shaghad" and it is only the poet himself and his leftist party who are "Rostam" of the time:"O troubled poor man! Sing another song/ The lovely Pourdastan [Rostam] will not escape the half-brother's well/ Died, died, died/ Tell the story of Pour Farrokhzad now!" (ibid., 75). And surely "Pourfarkhzad" was the same "Pir Mohammad of Ahmadabadi" for whom he wrote:"O rarest of the rare men of the time/ who hasn’t been anyone as glorious and auspicious as you / A long time has passed but none as courageous/ as you have come to the battle front" (Arghanoun, 102). We see how "emotionally" the poet-intellectuals of the 1950s judge a "political matter" that is extremely "rational" and what "mythical" sympathies they have for Dr. Mohammad Mossadegh.

In Akhavan’s view of existence and man after the Iranian Constitutional Movement, mythical thought forms the predominant feature of the content and style of his poetry. As an example of a prominent Iranian poet-intellectual, he uses metaphor instead of history in the axis of substitution, and replaces the reality of the basis of Iran, with all its good and bad, with its exemplary and sacred past. In this way, what fails is the independent and mature thought that is the legacy of Kant and the rationalist thinkers of the Enlightenment. With Akhavan's poetry, the audience cannot see tradition from a modern perspective. On the contrary, this tradition and above all the poet's mythical view leaves no room for the experience of Iranian modernity. In this essay, by highlighting the vulnerable areas of Akhavan's mentality and language, the author aims to take his poetry as a testimony to the failure of that anti-mythological wisdom that at the threshold of modernism is still insisting on its ancient past.

Proverbs are one of the leading cultural elements in societies that can support intellectual and cultural currents. The practical charm, as well as the accumulation of meaning and the broad and comprehensive meanings in proverbs, make their influence. However, the inspiration uniqueness and the audience's intellectual struggle toward them is not investigated yet. "You don't want to be shamed, be the same color as the group" is a proverb that can be criticized and interpreted in sociological, economic, historical, etc. perspectives. Contrastive structure, musical language, as well as the overt and hidden actions such as condition, command, warning, and threat in deep structure have made this proverb effective and popular. According to the deconstruction approach and the focus of this theory on reversing reciprocal pairs, a different reading of this proverb can be achieved, a reading that highlights and glorifies "individualism", creativity and the resulting talent in opposition to "collectivism" by shifting the authority and centrality of the structural dual poles. In this article, an attempt is made to provide a different and more modern reading of this proverb by applying deconstruction theory as well as qualitative and pathological analysis. The need to change the structure and context of this proverb shows the mobility and cultural dynamics of our society today.

The phenomenon that is called "child marriage" today and is one of the important social and cultural issues and harms related to women, is a historical issue that in the Qajar era in the struggle between tradition and modernity, gradually to the issue and subject It became important, at least among sections of Iranian society. Child marriage or marriage of girls at a young age, although a common phenomenon in pre-modern Iran, does not mean that this phenomenon is not considered as a social harm and a critical phenomenon. In the silence of historiographical, official and even political sources in the face of this issue, literary texts that are considered as the main sources and sources of social history in Iran have considered this important issue as a source of social criticism and in a thoughtful way in They reflected their poems and writings. Relying on texts and literary sources of the Qajar and constitutional eras and new research, this article has analyzed the approach of texts to the issue of child marriage in a descriptive-explanatory method.

Mulana Masnavi is one of the important books that due to its educational goals, has a greater share in rewriting and recreating works of ancient literature for children and adolescents. But sometimes we see that rewrites, in language and content, have weaknesses in terms of style compared to the original narrative and the appropriate language of the audience.

In this article, using the library method and comparative analysis of the content of the rewrites with the original story of Masnavi, the collection of rewritten books in the center of intellectual development of children and adolescents has been reviewed from a stylistic perspective in terms of language and content. . The statistical population of the research is a 12-volume collection of Masnavi anecdotes "from Neistan" for the use of age group "D" which was published in 2007 on the occasion of the eight hundredth anniversary of Rumi"s birth, for children and adolescents to get acquainted with Mulana, for use in cultural and artistic centers.

Choosing meaningless ancient words, quoting Masnavi verses instead of a part of narrative, ancient grammatical structure, slang words and terms at the linguistic level and not paying attention to Rumi"s educational content and inappropriate changes in the original content of anecdotes, from The main disadvantages of rewriting Masnavi are in these books.

Comparing the transcripts with the original anecdote, Mulana purpose and language appropriate to age group "D" shows that in some cases due to lack of understanding of the content, lack of attention to the appropriate language of the audience, change of content and lack of attention to Rumi"s message, linguistic and intellectual slips And have strayed from the goals of intellectual education, which is the main mission of the center.

Rewriting and simplifying ancient religious texts is one of the most important branches of religious literature for children and adolescents. To this end, some authors have rewritten the biographies of Shiite Infallibles (PBUH) in order to transmit cultural values ​​to new generations. "Oyoun Akhbar al-Reza" and "Manaqib al-Abi Talib" are among the works which have been the source of many rewritten stories such as "Malja al-khaefin" and "Hedie al-shams" focusing on the life of Imam Reza (PBUH). In recent years, following the expansion of Iran's cultural and social ties with Arab countries such as Iraq, Syria, and Lebanon, many of these stories have been published in Arabic in the form of cultural packages or tourism products presented to Arabic-speaking children who enter cities such as "Mashhad" and "Qom" for the purpose of religious tourism. The themes of most of these books are religious and seek to establish a link between the present and the past in order to inform the Arabic-speaking children of the glorious past of great Islamic civilization, create Islamic unity in the coming generations by enumerating the religious commonalities as well as develop a positive religious attitude in young Arab audience. However, regarding the difficulties of these works, authors that sometimes get involved in the process of rewriting a work are not able to take the work out of its historical form and present it to their young audience as an interesting story. The present article intends to focus on the artistic problems of the stories rewritten in Arabic and to analyze the requirements for the simplification of ancient religious texts on a case-by-case basis in the stories "Malja al-khaefin" and "Hedie al-shams”.

The research method of this research is qualitative and descriptive using content analysis, which is done for the objective and qualitative explanation of the content and concept of the written texts in a systematic way. In the present article, the studied components are the rewritten text (including words and sentences), the elements of the story (including the point of view, plot, character, time and place) and the visual effects of "Malja al-khaefin" and "Hedie al-shams” books, which have been rewritten for age groups (b) and (c) and derived from "Oyoun Akhbar al-Reza" written by Muhammad ibn Babawiyyah Qomi also known as Sheikh Saduq (died in 381 AH) and "Manaqib Al Abi Talib" written by Abu Ja'far Muhammad bin Ali bin Shahr Ashob (died in 588 AH). Excerpts from these two stories have been selected with an emphasis on the age group of the audience, the publisher (with an emphasis on domestic publishers) and the language of the work (with an emphasis on Arabic). After the two rewritten stories were adapted to their original manuscripts, information about the basics of rewriting children's stories were collected and classified in a library study using research sheets, and the advantages and limitations of rewriting in composition of this type of story were considered. Due to the fact that the visual effects of children's book are of special importance, the role of illustrator in preparation and attraction of these stories was also taken into account. This type of research dates back to several decades ago. For example, Sahir Ahmad Mahfouz in a study entitled "Tabsit Adab al-Kebar L-atfal" (1991) has examined the complete works of Al-Kilani with respect to simplifying the stories of One Thousand and One Nights, Sinbad Bahri, etc.

The research findings are reviewed in two areas: structure (appearance of children's book) and content. Based on the criteria of rewriting and simplification of ancient texts, the rewriters in the two stories in question have been mostly historians rather than literary rewriters, which means that their dependence on historical and educational aspects of the child has deviated them from addressing the literary aspects of the story. Regarding the structure and appearance of books, the publishers and stakeholders in the field of children's books should pay more attention when choosing the type of paper, colors, coordination of text and image, and so on.

The drawbacks of the authors in rewriting "Malja al-khaefin" and "Hedie al-shams” are that none of them has noticed the basic knowledge of their audience in the rewriting process; they have used words and sentences in the structure of the text outside the scope of Arabic-speaking child's knowledge. At the level of narration, too, Molla Aydi has been more dependent on the text than Mirzaei, so his story is a historical account of the original text lacking the necessary dynamism and movement.To apply the elements of story, both authors have acted in the same way, and there is no change in of the viewpoint or ups and downs in the plot. Mirzaei has managed to portray the personality traits of his protagonist somewhat more creatively only in the element of characterization, which seems to be due to lack of innocence of the main character in his story (Ryan). There was no significant change in the rewriting of stories in the element of time, which goes on linearly throughout the narrative. However, Mirzaei has been able to act more dynamically than Molla Aydi in defining the place of events, and his descriptions of the place of the story are more sensitive and imaginative.

Greimas is a narrative structuralism theorists whose views have been widelyadopted by researchers. His narrative theory is noteworthy due to its particulardivisions. This descriptive-analytical study provides a pathological review ofmore than 60 research articles published in Iranian journals up to 2021. Thisresearch is significant due to the incorrect understandings of Greimas’ theorythat have led to conducting certain structured researches with incorrectanalyses and interpretations. The results suggest that most of such researchesare not based on Greimas's theory as they have not referenced to his originalbook but the articles or books mentioning Greimas's opinions. When it comesto Greimas's theory, it is evident that the literary text has been ignored andthe text has been used as a critical practice to prove a theory. Sometimes, theresearchers clearly implied that the research fully agrees with the Greimas'spattern, a sign of improper understanding of the way to conduct as theoreticalresearch.

Nahj al-Balagha, the Imam Ali's Speeches collected by Seyyed Razhi (the famous Imamie Scholor in the fourth century) is said to be over the Creature speech and below the the creator speech. It is a precious book containing the sermons; letters and short words (Hekmat) of Ali (as). This book is important both literally, religiously, politically and socially. It has been available to Muslims for centuries and they benefited greatly from it. This book has several translations in Persian that number up to 100 titles But in addition to the valuable and useful points in these translations, there are some ambiguities that damages the proper understanding of Nahj al-Balagha's terms, so that in some cases the meaning of Mulla 'Ali's words is inconsistent with these translations. Sometimes the translation of the literal meaning of the phrase is rendered by an interpreter, and sometimes the changes of literal meaning of the words over the centuries has been ignored. The categorization of these ambiguities and mistakes and recognizing their damages to the correct meaning of Nahj al-Balagha's in its translations are the subject of this article.