فصلنامه زیبایی شناسی ادبی
سال پانزدهم شماره 61 (پاییز 1403)

In this article, we intend to study the foundation of emotion and the development of Saadi’s voice in an interdisciplinary approach and, using the method of discourse analysis and the dialectical process, examine him in the two issues of virtue and duty, with emphasis on aesthetics and sociological teachings. From the perspective of aesthetics, power is a “qualified good” and is valuable to humans to the extent that it leads to the development and cultivation of intrinsic goods. While in sociology, power is a rational justification for accepting the rule of the nobility and the wealthy, and a prerequisite for aristocratic life and an antidote to social anomie. The confrontation and clash of these two attitudes in one of the stories of Golestan; entitled “Saadi’s Debate with the Claimant” has led to the emergence of a dialectical discourse in the two categories of virtue and duty. Both categories, from both an aesthetic and a sociological perspective, have a significant impact on the reader’s feelings and understanding. In a way, the reader, by delving into the inner layers of the story, sees Saadi’s soul and feelings as different from the voice of his argument with the claimant in legitimizing power. Exploring the processing of Saadi’s feelings and voice in this story expresses a specific discursive nature that is highlighted in the connection between aesthetics and sociology.

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.

There are two perspectives in psychology, negative and positive, where a negative perspective can lead to illness and shortening of life, while a positive perspective helps to increase life expectancy, health, and reduce stress. Therefore, positive psychology reduces mental problems by overcoming negative emotions. Positive emotions and their profound effects are such that by focusing on them, they equip a person with high motivation and abundant energy to build a healthy and sublime life, and also transform him from within and guide him to a balanced and joyful coexistence with others. The components of positive psychology focus on six groups of human abilities: wisdom and knowledge, courage, altruism, justice, moderation, and transcendence, each of which Seligman introduces as a virtue. The present interdisciplinary research uses a descriptive-analytical method to examine positive thoughts in Saadi's Golestan and aims to explain the influences and influences of the two fields of psychology and literature. The results of this research show that Saadi's teachings are consistent with the concepts of positive psychology. In the seventh century AH, he expressed the principles of positivity in his works and invited everyone to positive thinking and an optimistic attitude. An approach that has been approved by psychology and social science today.

This article, entitled "Symbolic expression in mythical elements  the mentalities of Nezami-e- Ganjaei and Khajoo-ye-Kermani in the lyrical Masnavis, Relying on (haft peykar and Homay and Homayoon Pointed to subject of structural condition Myth in of lyrical Lyrical Masnavis in Nezami - e - Ganjai and Khajoo - e - Kermani. In also Pointed In The Investigation and analyzation of symbolic expression of mentalities of both of poetries, in Two Masnavis. Some mythological features can be observed in lyrical literature. With the evolution of the language of poem and It’s Perfection of poets have expressed their inner, feelings and emotions through lyrical poetry. Nezami-e-Ganjavi and Khajoo-e-Kermani are the most famous lyric poets of Persian literature, whose romantic systematization, in the always time as the simplicity of the words, has a beautiful tone with a masterful and proud expression, is very effective and attractive. Khajoo In The creation of Lyrical Masnavis has described in the rich messages and beautiful mtaphores and excellent pictures form of Interesting sences of feeling,  affection by Perfect skillfulness. In this article, we have expressed the characteristics of the inner mentalities of two poets based on Masnavis evidence by analytical-comparative method With a fusion of myth. First, the goal is to analyze Khajoo and Nezami works to find their hidden and clear meanings, and in the next step, relation between these meanings to the contemporary In understanding the meanings of lyrical works, it is possible to refer to the identification of existing

The topic of letters is one of the important and influential topics in the Persian language, which is subject to many differences of opinion. Saadi's works are a significant platform for displaying various types of conjunctions with different meanings and functions. In this study, Saadi's poems are examined from the perspective of the aesthetics of the use of the conjunction "Wow". The method of this research is descriptive-analytical and in the form of a questionnaire, and the required information has been extracted from library sources. The results of the study show that letters, including the conjunction "Wow", are of particular importance in Saadi's poems. However, he did not overdo it in using letters. The conjunction "Wow" in Saadi's poems is used mostly in two areas: grammatical role-playing and semantic function. Saadi, with full awareness of the capabilities and capacities of the conjunction "wow", has been able to clearly express a multitude of difficult meanings in the form of this word. The conjunction "wow" takes on different roles and meanings in Saadi's poems, Saadi places the conjunction "wow" in its best and most appropriate place for the emergence of meanings and finding the roles he wants.