تصویر

Salman Harati is one of the influential figures of the Revolution poetry and one of the outstanding faces of committed and idealistic poetry. Salman, despite his commitment to the concepts of the poetry of the Sacred Defense and the inclusion of themes such as martyrdom, self-sacrifice, and giving one's life and property for the homeland, as well as some mystical concepts, has not been indifferent to the form of poetry and is an innovator in this area. One of the most important manifestations of form in a literary work is the music of words. In examining the poems of Salman Harati, it can be said that he has paid attention to the phonetic structure of language and considers the use of various types of phonetic, lexical, and syntactic balance in his poetry. He has utilized internal linguistic elements to enhance his poetry. In the poetry of Salman, sound harmony are the most important element creating internal music and are effective factors in enhancing the music and beauty of the poem. He, by repeating phonemes, not only creates music but also seeks to convey messages. The harmony of phonemes with the subject and the use of music serve the theme, which Salman has adeptly managed. In fact, repetition is another technique of Salman Harati's poetry that creates a kind of unity and coherence between form and meaning, and it is the main factor in establishing balance, movement, dynamism, and melodiousness in Salman Harati's poetry.

Couplets is one of the Poetry traditional forms in contemporary poetry that most of the poets of the new poetry movement have used before turning to new poetry. in the transition between classical poetry and contemporary poetry, At the literary level, this form became a main format for simplifying images and and changed its elements . The analysis of aesthetic developments of contemporary poetry shows that the Rhetoric that found stylistic characteristics in the new poetry were tested by Nima before that in this format. n this article, in a descriptive and analytical approach, have been analyzed the evolutions of Imagery contemporary poetry from the Couplets form to the Nimaa'i poem in the poems of: Mehdi Akhavan-Sales, Forough Farrokhzad and Nusrat Rahmani. poets wrote poetry in the form of Couplets Before new poetry. The results of the analysis of their Couplets show : simplicity of images, replacement of new elements instead of old elements in the imagery, subjectivity in the image, attention to the vertical axis and the extent of the image in the entire poem, symbolic imagery which is one of the stylistic features of The aesthetics of new poetry is developed in their Couplets and has found a stylistic feature in the form of new poetry.

Informed by Gilles Deleuze’s “cinematographical theory” and Mohammad-Reza Shafiei Kadkani’s literary opinions on imagery, the present article endeavours to read and classify the images in the heroic age of Ferdowsi’s Shahnameh. The common ground between Deleuze and Kadkani is movement and time. This study categorises the images into two groups, namely, movement and time, and five categories: 1) rhetoric-based, 2) narrative-based, 3) language-based, 4) action-based, and 5) dialogue-based. This comparative-descriptive research locates itself at the crossroads of interdisciplinary studies.

Nasir Khusraw’s poetry is full of intellectual arguments, religious topics, sermons, and wisdom, which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar of Nishapur has tried to present the heritage of Sufism of Khorasan and the poetry before him in a different style, through simple language, without glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. Adopting a quantitative and statistical method, the present research investigates the statistical and comparative analysis of the structure of the poetic images of Nasir Khusraw and Attar. The results of this study show that the simplicity or complexity of a poet’s language has little to do with the structure of his images. In other words, the geometry of the poet’s images cannot be considered simple or complex merely because of the simplicity or difficulty of his words. The language of Nasir Khusraw’s poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem’s images, and most of his poetry’s images are simple and far from complex. On the other hand, the structure of Attar’s poetic images, despite the simplicity of the language and appearance, has a subtle and delicate complexity that cannot be understood except by analyzing the rhetorical materials used in the construction of the images. In other words, Attar’s language is simple but his images are complex.

The style is the voice of the writer's mind and what flows on the pen is the objective expression of this mind and the harmony between the subjectivity and the structure of the poem is the inescapable principle. Consciously and unconsciously, poetry is the field of harmonies. The nature of art is tied to the principle of harmony, and art as a whole earn its beauty and effect from the harmony of its parts. Therefore, in the art of poetry, harmony can be found at different dimensions. In the poem structure, form and content work together to create effect and beauty. Harmony between language and content, music and content, imagery and content and other structural and deep structural elements is a fundamental element in the effectiveness of poetry. One of the most professional harmonies in poetry occurs in the field of world view and image harmony; In such a way that the image becomes a mirror of the worldview and mentality of the poet and his specific ideological tendencies. harmony especially is evident in the poems of ideological poets. The Resistance poem has also presented unique examples of this harmony. The present research shows this harmony in the poetry of two poets of Resistance literature; Mohammad Reza Torki and Mohammad Mehdi Sayyar have explored and tried to reveal the appearances of this harmony with a descriptive-analytical method. The result of the research shows the creation of professional harmonies in the dimensions of image and ideology in the poetry of these two Resistance literature poets.

Image is one of the topics of aesthetics that can be used to convey artistic beauty in a literary text to the audience by depicting the inner thoughts and feelings of a poet or writer. Image has a special place in Simin Behbahani's poems. Behbahani has combined imagination and inspiration with the help of verbal performances in such a way that he can express his emotional and sensual states in the form of imaginary images. In this research, which was conducted with descriptive-analytical method and based on library studies, the role of simile in creating corroboration images in Behbahani's poetry is investigated corroboration images are created with the intention of inducing and proving a sensory perception and rational thought; That's why analogy is very effective in creating these images. Behbahani has used similes in different ways to create corroboration images. Elaborate simile, specific, eloquent, eloquent, plural, implied, compound, and binding similes are tangible to tangible and reasonable to tangible similes, and representative similes are among the most frequent types of similes in this connection. Behbahani Basar has artistically used double similes to create corroboration images. Sensory similes have a high frequency in Behbahani's poetry, which are effective in creating corroboration images. The existence of brief proof images is also one of the characteristics of Behbahani's poetry, which has caused the multiplicity and confluence of images.

 Artistic images and images in connection with language show the world of the poet"s thoughts and imagination. The analysis and evaluation of the images created by each of the artists, including poets and writers, determines the type of their attitude towards the world around them. It is undeniable. In this article, the main goal of the authors is to examine the role and position of Sorkhayal in instilling the concepts and moral foundations considered by Saad al-Din Varavini, relying on one of the chapters of Marzbannameh (Chapter II).

 The study method in this article is descriptive-analytical and inductive. The data obtained from the research has been collected by referring to the second chapter of Marzbannameh and the basis of the studies is the library method and reference to reliable scientific databases.

 Findings of the research: The findings of the research indicate that Varavini has made good use of the rhetorical function of images in order to make many moral and educational concepts concrete, and in the meantime, he has used metaphorical images to a greater extent.

 The results of the research show that concepts such as not being attached to the world, avoiding stupidity, paying attention to thinking about the future, avoiding extravagance and extravagance, loyalty, thinking of solutions, avoiding selfishness, clinging to true friends and concepts of this kind are the most The moral themes of interest are in the second chapter of Marzbannameh.

The story of Amir Arslan Namdar is one of the famous folk stories of Persian literature from the Qajar era and one of the most famous romance stories that marks the transition from the short story to the novel. Amir Arslan was written in the middle of the Qajar era and includes some features of traditional and ancient Persian stories, as well as some features of novels. This feature is also evident in the illustrations of many lithographed manuscripts of the book. This article aims to explore the cultural identity and features of this story using a cultural studies approach. It analyzes the hidden and obvious cultural and identity structures of the story by comparing the text and image, while also exploring the hidden cultural roots in this story. The article introduces and studies these cultural aspects, specifically focusing on the illustrations of the lithographed manuscript from 1317 AH.

The image shines in the language and language is a social phenomenon. To this credit, the image is always a means of expressing the speaker's social experiences. Although experiences can be transferred through language. But the image both makes it easy to convey the message and doubles its impact. Shafi'i Kodkani, a poet, started in the forties, one of the most tense decades in society He quickly left the confusions of thought and expression behind and He was able to find a high position in the realm of contemporary Persian poetry. He is not only a poet; Rather, he is a rare researcher and poet. Therefore, he took effective steps in elevating the form of poetry. Because of his life experiences, he enriched the content of the poem to free the thoughts of the audience. In his research, Shafi'i has reflected more than anything on the structure of poetic language, both in poetry and in prose, especially Sufi prose. But in all the fields that he has chosen as the field of research, he has considered the sociological side of it. Because it is rightly believed that poetry is not for solitude; Rather, it is written for the unity of the people and their intellectual elevation. By examining some of the social images of his poems in "The Second Millennium of the Mountain Deer", this article aims to reveal his socialism in poetry and show some corners of his human and social emotions about the transformed society.

One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels.

Imagology is an approach to comparative literature and aims to study worship representations. The image given of the society viewed through descriptions by a viewer may well reflect the cultural differences and mismatches that exist between the two cultures. The first Iranian modernists, Akhondzadeh and his fellow travelers, among others, tried, by combining literary art and social criticism, to highlight this cultural gap and thus encourage their readers to accept alterity. To this end, they have created literary genres that best adapt to the representations of their society and those of the ideal society. In this article, with the aim of making an imagological analysis of the works of these authors while taking advantage of the theories and approaches of imagology we will study the stylistic and structural properties of the texts of Akhondzadeh and A Traveler tells. We will also analyze the reasons why these authors succeeded in transmitting their message and how they mentally prepared their readers to accept a cultural transposition.