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Indo-european worldview has been reflected considerably in the formation of the Persian poem and prose, because of its literary and contextual grandeur. It has affected many works in various aspects, so that its mythology has been used in the prominent works such as Firdausi's Shahnameh and the Kyrgyz epic of Manas. However, the way of possessing such a worldview by Shahnameh and Manas is the subject of current research. In this regard, we have described and considered the behavior of heroes in the two works based on the George Dumezil's Three Functions Theory. Our study reveals that the tree functions of the theory have been applied all over the stories of these two epics. This theory is based on the two vises: coordination and contrast; meanwhile Shahnameh and Manas are based on goodness and evil, which are symbolized in heroes such as Siavash/Bakai as well as Rostam/Manas. The first section consists of the wisdom, intellect and calmness symbols, and the second section is related to the symbols of violence, stringency warmness, militancy, and self discipline; while ordering the Quadruplet elements system, provides the people with peace and self-coordination by its force. Moreover, there are invulnerable Demons and Personages in both epics such as Esfandiar (in Shahnameh) and Malgun and Mady Khan (in Manas). However, their only vulnerable spots are their eyes through which they must be killed and their dominance must be ended. This is the motif of “Killing the Demon by blinding him”, which forms one of the worldview's elements mentioned in Indo-european mythology.

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The exact date of coffee into Iranian territory is not known, but what has come to us from literature, show the reign of Shah Abbas Safavid and especially, in coffee houses in big cities in Iran like Isfahan flourished. The coffee houses of Safavid has cultural practice that most public places and especially the artists and poets. Because the Safavid poets of the era, such as the Board did not know about the art of poetry, the place was not in court and the other party's growing middle class in this day and age class gathered in coffee houses, poetry and literature to suit Since literature and society are constantly being traded bilaterally with elements in coffee houses in poetry and art of the period of manifestation of this age is certain. Coffee, opium and opiates are the most important elements that have been visualized in the poetry of this age. The method is a cross-sectional study and tool researched biography of the Safavid court and some of the poets of this era.

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With the advent of linguistic researches in the early seventies on the conditions of the women in language, an overwhelming turn came into the sociolinguistics. The most important rationale behind this attitude was the surge in Feminist movements in the modern times. Women authors strongly believe that masculine/male literature reinforces traditional sexual clichés and that in their works, portrays women as dependent and victim. They contend that the image depicted by men in their works of women is more frequently than not unrealistic. In other words, women/females in most of the literary works are considered as “others” to men/males and, henceforth, in male-dominated literature, the women question and the women experience are not dealt with. Quite on the contrary, the role assumed for women is what men ascribe to them and deem more suitable. This led to women arguing that, since they are endowed with special biological features and feminine experiences like sympathizing, cooperation, sensitivity and special power to observe, they are more likely to convey a special aspect of femininity to the reader, which is absent from male/masculine writing/écritude. Female writers in Iran could establish their place in writing fictional works and, hence, be widely received by the audience. This paper, via applying the Theory of Language and Social Semiotics, tries to delve into two novels: ‘Sovashon-by Simin Daneshvar-and ‘Adat mikonim'-by Zoya Pirzad. The methodology is descriptive-analytic. This paper substantiates the claim that women in different strata (syntactic, semantic and cognitive) of these two novels struggle to represent their identity in various ways.  

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The Ghazals of Hafiz and the Canzoniere of Petrarch (1304–1374) have at least three common characteristics: (a) from the qualitative point of view: Each of these two works is at the top of the medieval love poetry: one in the Persian literature, and the other in the European literature; (b) from the chronological point of view: These two books of poetry have been written during the fourteen the century A.D. (8^th  century AH); (c) from the quantitative point of view: The ghazals of Hafiz contain near 4092 distichs or bayts (i. e., 8184 lines or mesra') and the Canzoniere of Petrarch contains 7784 lines. So, they are contemporary, contain a similar number of lines and are at the top of the medieval love poetry. The description of the beloved's eye is one of the principal common places of these two poets: Petrarch mentions the eye 263 times in the Canzoniere and Hafiz 216 times in the Ghazals. Moreover, Hafez writes about the Narcissus-a metaphor of the eye-in 44 distichs. This paper shows, with the comparative-contrast method, the common and different characteristics of the beloved's eye in the Hafiz and Petrarch's poetry.    

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There are several attitudes about the linguistic characteristics of literary works by female authors. The present study aims at highlighting the need for a stylistic analysis of female fictions as a method for linguistic, literary, and ideological analyses of these works. In this study, we have studied the most important stylistic aspects of Pirzad’s writings through a feminist stylistic approach. The results of the study indicate that from the first work of the author (Mesl-e hameh-ye asr-ha^[1]) to the last work (Ādat mikonim^[2]), a feminist point of view has emerged at different levels of the texts, e.g. lexicon, sentence, and discourse. The changing trend of thought which leads to linguistic transformation and development in the author’s work is as follows: in Mesl-e hameh-ye asr-ha,Ta’m-e gass-e khormalu,^[3]Yek ruz mandeh be eid-e pak,^[4] the women are engaged in routines and have no intentionality of their own, while in Cheragh-ha ra man khamoosh mikonam,^[5] the women status is challenged, and in Adat mikonim, due to the role of women in social activities, a different description of female identity as the agent of change is presented.
[1]. Like All Evenings [2]. We Will Get Used to It [3]. The Acrid Taste of Persimmon  [4]. One Day before Easter [5]. I Turn off the Lights

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Literature has a special position in representing society. The novel is a special literary genre and a perfect mirror which reflects and reveals the events, progress, growth and change of the society. Most especially in both countries of Iran and Senegal, this style of writing has been accompanied by the social and cultural changes. Family is the most important and fundamental element of the community. The main role of the story is been played by the family in most contemporary novels. The concept of family plays a key role in most contemporary novels, and the main role of the story is always introduced in the family. On the other hand, the roles that humans take in their families often expresses the realities of the community. Regarding the political and social conditions governing each period, the way writers pay attention to family issues. In this article, we have studied the comparison and analysis of family in Iranian and Senegalese contemporary novels (showhare Aho khanom and so long a letter), in response to these questions, which are these similarities as well as the structural differences of the family in the contemporary novels of these two nations and how they emerged narratively. In addition of studing family in novels, this research is also a kind of comparison between Iranian and Senegalese cultures, and the important works of contemporary writers in these two nations are compared, which can help the develop of comparative literature in both countries.

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Death" is the inevitable event of all humans. Some put it into oblivion, and some epistemologically accept it as reality and certainty. Investigating and analyzing the narratives of the two tyrannical, powerful and bloodthirsty characters in stories of Ferdowsi and Albert Camus and how they deal with their own and others' deaths is the main issue of this study. Caligula and Zahhak, who saw themselves as the absolute commander of the life and property of human, believed that they could also control death, trying to rid themselves of the fear of death by killing others, but nature faced with the phenomenon of death. How Ferdowsi (representing Islamic scholars) and Albert Camus (representing Existentialism) deal with the events of the story illuminates the philosophy of life and death from the standpoint of two thinkers in the East and the West. Both officials, after gaining power, commence unprecedented oppression and killing. Like all people in the world, they are scared to death and want to seize the power of nature to kill humans by killing them. Killing is the only way to combat the fear of death. The fate of both characters is similar, and eventually they are ousted from power due to murder and bloodshed against both rebels

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In mystic/gnostic contexts and in theosophists’ doctrines, the topic of God’s names holds a special place, particularly broader and more important than all other mystic themes. The discussion about the attributes of Allah or the beautiful names of Allah, their resplendence and the characteristic effects of each on the human soul has covered a wide part of the mystical written works, in which sophists have proposed their thoughts on these matters.
In this research, firstly a brief literature review on the topic of God’s names has been brought forward and then, in the main part of the study, two of the most prominent written works in the field of Sufism, namely the “Kashf al-Mahjub” or the “Revelation of the Veiled” by Ali Hujwiri and the “Rawh al-Arwah” by Ahmad Sam’ani, have been thoroughly investigated, in an effort to recognize the dominance of God’s names, such as al-Lateef (The All-Subtle), ar-Rahman (The Most Gracious), al-Jameel (The Most Beautiful), on the devotee’s conscience and their practical differences and similarities from these two mystic writers’ point of view. Lastly, the writers’ reflection methods and the literary arts they have used throughout the writing of their books have been deliberated.