History bears witness to the fact that Islamic Iran was always a cradle for wisdom and philosophical thought. The great sages and mystics of this land—from FÁrÁbÐ to Ibn SÐnÁ، MawlÁnÁ RÙmÐ to SuhrawardÐ، and Sayyid Íaydar ÀmulÐ to MullÁ ÑadrÁ—are known the world over as the torchbearers of knowledge and spirituality. It is no accident that traditionally the seekers of knowledge in all corners of the world would look to the prodigies of Iran for such wisdom; hence traces of the works of these Islamic-Iranian authors can be found in the East and the West. But is this honour a historical phenomena and a thing of the past? Or is this lamp still lit? In response it can be said that while the flame has flickered and has given off light of different intensities، it has never been extinguished and continues to give light even today. An overall awareness of the philosophical life of contemporary Iran—by introducing the leaders of this movement to all seekers of knowledge in and outside of Iran—is beneficial and can only but help in the continuation of this rich tradition. Moreover، it is a necessary step insofar as it provides posterity with access to a most valued heritage. The present study is an overview of the intellectual life of some of the leading figures of Islamic philosophy in contemporary Iran.

One of the major philosophical arguments in the knowledge of God followed by the knowledge of the self. This has been reflected both in the Holy Quran and in the works of great scholars and philosophers. The Sufis use self to refer to the lower carnal self that is the source of evils and hence blameworthy. Bābā Afzal Maraghi Kāshāni, however. Sees the self as divine light that brightens every thing. To him, the functions of the soul, power, and nature are the offshoots of the self. Affected by Islamic views and Aristotle in his works. To express his scholarly views, he has also drawn upon the views of great thinkers like Khosrow Ghobādiāni. He has, of course, repeatedly mentioned the hazaods of the carnal self and shown treatments for them. This paper expolores the self, its different versions and kinds, and its relationships with the body and with reason.

Using statistical methods has many benefits in the accuracy and precision of stylistic research. One of these methods is Johnson "vocabulary variety" which is based on core vocabulary. This article has analyzed the poetry of Forough Farrokhzad, Farzaneh Khojandi (Tajikistan)and Khaledeh Forough (from Afghanistan) from the perspective of this theory. By examining three thousand words from each poet, the overall proportion of variation of the words in the poetry of Farzaneh Khojandi is more than the other two. In addition Forough Farrokhzad and Khaledeh Forough have the same level of diversity. The next stages of calculations showed diversity in the poems of Forough is more than Khaledeh and Farzaneh. That means her mastery of the language of poetry in the second period of her career is more than two other. Also despite the fact that the three poets have used the same words, it is how they have used the words which has made the differences, resulting from the difference between the poetic style and attitudes and living condition of each poet.

The purpose of this paper is to explain the Forough's cognitive bases about the concept of death. This article intends to present the metaphors, similes, symbols, allegories of Forough based on Johnson pictorial schemas while using conceptual analysis method. Forough's pictorial schemas on abstract concept of death show that the metaphors of death is rooted in her lived experience and indicate her cognitive system. By identifying Forough's metaphorical mappings about death, it could be found the subcategories of the mappings, and understood how restricted numbers of mappings have shaped Forough 's life and thought and also unifies her attitudes and permanent reactions in physical, social, and cultural environment.

In Modern Persian literature, the most serious and influential feminism occurs in Forough Farrokhzad’s poetry. She is the first Persian female poet who disclosed her womanist desires in a feminine, pure, and humble language while illustrating world of women in contemporary Iran. The goal of this article is to explore Woman/nature traces in Forough Farrokhzad’s poetry. Therefore, the following themes and issues which may help to connect her thoughts and language to nature are presented: “The Nature Ontology”, “The Seasons and Time Passage, “The Four Major Elements in Nature”, “The Tree and The Plant”, and “The Earth and The Sky Creatures”. Attempts are made to investigate how these themes are interwoven in Farrokhzad’s poetry, and how she had been indirectly under the influences of such feminist tendencies in the world of literature. Hence, an analysis of Woman and Nature in Forough Farrokhzad’s Nature Poetry reveals her thoughts and ideas as one of the most significant Persian Modern poets. This research applies an analytical-qualitative method and uses a descriptive-library approach. 

Nature has been one of the most significant subjects in literary discussions. Ecocriticism and Green studies in literature of the East and the Western/European literary orientations were always important subjects. Landscapes, nature descriptions and nature elements, such as the mountains, the plains, the ocean, the woods, and the rocks have been always under the attention of poets and authors. Sometimes these nature descriptions were to praise the nature and its fundamental aspects like the seasons and time changes, other times to reveal the poets’ inner moods and emotions and his/her sentimental reflections. The nature ontology, the seasons and time passage, the four major elements in nature, the plants, and the earth and the beast have direct connection with human life. In other words, human life is meaningful when it is accepted within the environment and the outer world; consequently, the reflection of this outer world is eminent and considerable in literary texts and poetry.

It is true that most of the critics consider four major movements for Feminism: the first movement insisted on the rights of the women and the suffrage; the second movement searched equalities for both men and women; and the third movement concentrated on the cultural and academic institutions. Finding women’s real social places and ranks, supporting social equalities and political/economical equalities, releasing the women in a patriarchal society are all among the most significant basics of the European Feminist current. Elaine Schowalter, a well-known feminist theoreticians speaks of two feminist tendencies: 1. Studying literary texts and analyzing the picture of women in them; 2. Evaluating the female poets/authors as the creators of literary texts, and deciding whether there are some differences between the male poets’ interest and those of the female ones (Schowalter, 1988: 346). This essay insists on the first tendency and attempts to follow such an outlook, which means criticizing literary texts from women’s viewpoints. Thus, the aim of this research is to find out the reflections of nature, women’s identities, and the nature-oriented tendencies of a female poet, Forough Farrokhzad, who like ecocritics thinks of nature-destruction and decadence, and worries about the women’s exploitations in the society. The ecocritics or the nature-oriented-critics believe that both women’s social exploitations and the nature destruction are the results of a hierarchical society where the role of women becomes more and more weak and unimportant. Consequently, this research, while using analytical-qualitative method and applying a descriptive-library approach, attempts to disclose the thoughts and the inner emotions of a female poet in Persian modern poetry.

Forough Farrokhzad’s volumes of poetry, Re-birth (1343) and Trusting the Dawn of a Cold Season (1343) reveal the common pain the poet and the nature suffering from; a lonely lady who is suffering from a cold and icy society while melting in a gloomy atmosphere: At the beginning of a cold season/ At the beginning of the perception of the polluted existence of earth/ And the simple damp despair of heaven (Farrokhzad, 1386: 317). The wind blows in the alley/ The wind blows in the alley/ And I think of flowers breeding/ And buds on vestigial stalks (Farrokhzad, 1386: 318). Will I ever again comb my tresses in the wind?/ Will I ever again plant violets in flowerbeds?/ Will I ever again leave the geraniums in the sky beyond the window? (Farrokhzad, 1386: 323). She thinks that the life is a simple dream and hallucination, and immediately a self-destruction and nature-decadence are remembered: Excuse her/ She who at times forgets/ her close painful connection/ with the stagnant waters/ and the empty holes/ and foolishly thinks/ the right of living (Farrokhzad, 1386: 231). Forough seeks shelter among her own simple fellow, those who are also perfect and worthy: Give me shelter, oh simple perfect women following/ With your slender fingertips/ The delightful movement of a fetus beneath the skin (Farrokhzad, 1386: 281). Woman/nature traces and the reflection of nature in these two volumes of poetry and Forough’s earlier poems are significant due to these topics: “The Nature Ontology”, “The Seasons and Time Passage, “The Four Major Elements in Nature”, “The Tree and The Plant”, and “The Earth and The Sky Creatures”. Every one of these subjects can be applied in the poet’s personal, social, mental, and philosophical areas, so that when facing the nature, Forough Farrokhzad joins her, involves in her, sympathizes with her, and finally familiarizes and unifies with her.

One of the most beautiful imaginaries in Persian poetry is the changing that the poets make in inanimate objects in their environment while giving them movement and soul. A primitive kind of living and the nature, their connections and relationship, were the major factors for such tendencies in absorbing the natural phenomena in their poetry. Then such interests resulted in the brilliant pictures of nature elements in Persian poetry. Consequently, “Personification” as a literary device has been widely used in Persian classical poetry to personify the inanimate objects and the natural phenomena. Among the traditional Persian poets one can remember Manuchehri Damghani, Farrukhi Sistani, Rudaki, and Unsuri Balkhi who described the nature in their poetry and reflected her widely; that is why Manuchehri is called the encyclopedia of the nature in Persian poetry. In Modern Persian poetry one can remember Forough Farrokhzad, Mehdi Akhavān-Sāles, Nimā Yushij, and Sohrab Sepehri who also kept in mind the nature while writing their poetry. Subjects and issues like “The Nature Ontology”, “The Seasons and Time Passage, “The Four Major Elements in Nature”, “The Tree and The Plant”, and “The Earth and The Sky Creatures” indicate how Forough Farrokhzad’s thoughts and language are extensively connected with nature. She is considered as one of the most eminent female poets who cared for the women’s real rights in Modern Iranian society. The following themes and issues highlight Forough’s major woman/nature tendencies: “The Nature Ontology”, “The Seasons and Time Passage, “The Four Major Elements in Nature”, “The Tree and The Plant”, and “The Earth and The Sky Creatures”. In her poetry, nature has an idealistic, pure, and feminine meaning, and the time is the symbol of development and growth; every four major elements of nature are a pattern for human’s ontology (the water is the symbol of life, purification, rebirth, feminine characteristics, and matriarchal power; the fire refers to fertility, purification, and the illumination; the wind shows creation and fertility; and the soil presents the life and the abundance). Also the vegetable in Forough’s poetry stand for birth and life-death circle, and the trees indicate life and the association of the woman and the earth; all these are widely present in Forough Farrokhzad’s almost every line of poetry.

This research tries to give a brief idea about receipting Furough Farroukhzad''s poetry، and show how much interest it has got in the Arab World. Furough Farroukhzad''s poetry was considered to be a sample of the evolution of Persian contemporary poetry، because this poet had moved in composing her poems from the classical way to the renovated one، and was also considered one of the best Persian contemporary poets. Her poetry has got many specific characters like: simplicity، plainness، fluidity، spirituality of words، the large quantity of inspirations، plenty of emotions، association of time and thoughts، repetition of words and using them in new creative phrases and structures، the multitude of symbols، variety of contents، and numerousness of pictures، images and figurations. Topics of her poetry varied between love and beloved، death، dissolution، desperation، loss of hope، pessimism، recalling the beautiful past، craving for family life، and criticizing the old traditions of her society. Publishing the Arabic translations of her poetry is divided into two major ways: selections and studies; as for selections، some of them were comptented in her poetry، and some others were among other Persian poems. Concerning the studies، they were either found in books، which are specialized in Persian poetry and literature، or in magazine articles، or in academic studies. Translators'' choices of the poems translated were thoroughly discussed and some reasons of these choices were found; one was publicity and notability of the poems. Translations of «Let''s Have Faith at the Beginning of the Cold Season»، the most famous poem of Farroukhzad and the most translated one into Arabic، were studied in this research، and special characteristics of every translation together with their positive and negative points were concluded. Finally، there was a call to give Furough Farroukhzad the interest she deserves as an important، famous، and celebrated poet، who played an essential role in developing Persian poetry.

There is an underlying connection between classical Persian poetry and religion. Although religion can be considered as one of the main origins of the poetry, it seems that in the contemporary poetry this connection has become partly weak. Here, we aim to study the religious signs of Forough Farrokhzad’s poetry, one of the Iranian modern poets. To do so, we initially introduce and discuss Peirce's Theory of Signs. Then, according to this theory, we start to analyze her poems. This aspect of her poetry has not been discussed that much until now. There are plenty of religious signs in Forough Farrokhzad’s poetry. She uses both Islamic and Christian elements, but the way she chooses the signs and the way she uses them, both are completely different in line with each religion. At the beginning phases of her poetry, the religious signs, which are mainly Islamic, enter into her poems through the classical literary works and therefore they are mostly abstract. But as her poetry grows more mature, she changes the way she applies them. In this phase, the frequency of Christian signs, picked up from Gospel, increases in her poetry. On the other hand, at the same time, the Islamic signs of Forough’s poetry are picked up from the environment in which she lives, instead of the foresaid classic works. So, as a result, these signs are objective, tangible and related to the folk religion.

The subject is studying the Interrogative sentences' secondary meanings in Forugh Farrokhzad's poems as reflecting on another birth and believe in the beginning of the cold season. As the grammarians said, the types of sentences are Declarative, interrogative, imperative, and Exclamatory, based on meaning. In literature, the meaning of the sentences may be changed based on the speaker's purpose. Semantics is a science that discusses these changes, and from this, it is similar to pragmatics, which is one of the branches of linguistics. From the pragmatic point of view, a sentence does not always have an apparent and conventional meaning; some sentences also have other meanings. Interrogative sentences can also have literary and artistic use, in addition to grammatical use, whose literary part is discussed in semantics.Occasionally, the speaker uses interrogative sentences with a secondary meaning other than questioning, such as emphasis, motivation, command, wish, etc. Forugh has also mostly been satisfied with the semantic diversity of sentences to convey her covert meaning and purposes

In this study and based on mental and affective axis the interrogative propositions have been investigated. According to results of this research, these propositions signify her quest and are crystalized in the form of love, the quest of self or searching identity, and the concern for humanity. Through this process of searching identification and in the poetic universe of Forough Farrokhzad, she asks always numerous question on the nature of love, life and herself. From affective view point, the analysis of interrogative propositions shows that the priority of love in her both early works gradually get pale and her questions have been quantitatively and qualitatively transformed. It is worthy to note that the addressee of these propositions is an example of her mental and affective metamorphosis and this study tries to show that her addressee from personal “I” or default and presupposed addressee changes into an interpretable and generalizable pronoun to all readers and addressees. With no doubt, adopting this approach shows the great extent of Forough Farrokhzad mental and affective universe.