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This article has been written in a descriptive and analytical methods based on library studies. In this research, with the discovery and classification of the materials in the Religious and Mythical Figures in the Reststance Poetry of Seyyed Abutaleb Mozaffari, its relation with the poet's idea of resistance was examined. The results of the research indicate that the poet has recreated religious and Mythical figures, and linked yesterday's patterns with today's realities of war, and in this regard, in order to enrich the literature with poetry and its linguistic implications, and to connect the idea of resistance with the suffocating atmosphere of Afghan society, it is trying to application of these characters to serve the literary subject and its identity.
 
 

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Badi al-Zamannameh is an almost forgotten collection of poems by an anonymous poet that represents the writing style of the Safavid era and consists of 3287 verses. It is a romantic epic narrating the adventures of Badi al-Zaman, an Iranian prince, in marriage with Ghamarchehr, daughter of the Khagan of China.
The current study aimed to investigate the folk foundations of Badi al-Zamannameh by adopting a descriptive-analytical methodology and conducting library research. The theme is represented by the two major fields: influences of the oral tradition and the works of previous generations and the basic themes of folktales. The old and popular texts of Persian literature like Shahnameh, Eskandarnameh Nghali, and Hamzehnameh influenced the language used in Badi al-Zamannameh. Moreover, characteristics like having a cyclical narration, applying folksy words and phrases, referring to customs and rituals, highlighting religious themes, making characterizations similar to folktales, illustrating miracles and surprises, using special numbers, using happy endings, and leaving the narration open indicate that it has been influenced by ancient folk literary works.
Reflecting on a native culture illustrates the culture of a society and makes the collective identity known. Looking at the literary works of a nation as a clear reflection of its culture is a way to achieve this goal, which may lead the researcher to the processes of cultural transformation in society and know the audience of such works.
 

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Mikhail Bakhtin considered popular literature to be the most suitable field for the emergence of carnival thinking. The distinctive feature of this thought is the disruption of the dominant discourse on traditional literature through the transformation of language and values in literary works. This article tries to analyze Iranian folk tales from this point of view. For this purpose, seven collections of Iranian folk tales have been analyzed in a descriptive-analytical way. The prominent features of carnival literature, such as freely raising issues related to the material life of human life Like eating, drinking, birth, marriage, and finally death as a natural process of life - and not a tragic and catastrophic thing - are important elements of carnival and grotesque thinking, which are discussed in this essay. The result of this research shows how different personality types are in conflict with each other in the stories, and with the transformation of superior and inferior levels, the discourse of dominance collapses. In these narrations, by breaking the norms of power in the society, the possibility of multi-voices is provided in the stories, which is one of the distinct characteristics of carnival literature. Also, the use of free language, without moral restrictions, which includes unusual words, profanity, and unusual words, helps to create a humorous atmosphere of the carnival.

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This research has examined ten Turkmen fairy tales. The conclusions
of the study show that the contrast between good and evil is the most important mythical component of  Turkmen magical tales. The teenage son and daughter of the family represent the forces of good who confront the forces of evil to save a family member or to seek what is desirable on a tumultuous journey. Travel is the enriching element that brings the immature hero to maturity. In most of the stories, the demon represents the evil and demonic force that disrupts the hero's work and the hero fights him in several stages and finally wins. In addition to demons, human anti-heroes such as stepmothers, siblings, and the evil old woman play the role of evil forces alone or as an auxiliary force. Both the forces of good and evil resort to magic as supernatural in advancing their goals.
 

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Story design is a chain of events that adds direction to stories. Not only it determines the order and succession of events, but also an organized set of events connected through cause-and-effect relationships and arranged by a pattern or map. Design has a strong relationship with other elements of a tale. Examining the structure of design in folk tales enhances understanding and perception of the ruling system of tales and their attractions. Lakki’s written tales examined in this paper are based on design elements and the types included Pacha (eight tales in one book), Se-Charaki by Jahanshah Azadbakhsh and Lakki legends by Kiomarsh Amiri Kalejoie. The design of the majority of stories was linear and since the manufactured order of events and trends rule the natural order of tales, closed-design was the most popular design in Lakki’s Pachas. The drawbacks of extending Pacha’s design were in the mystery solving part. Magical agents with metaphysical forces solve the protagonist’s problem, while there is no introduction for the presence of the protagonist's supporting character. That is, the protagonist encounters them by accident.

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On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

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 On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

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Dam construction is a wide civil activity which appeared as main necessary infrastructure of development for Iranian planning managers. Because Iran is located in a dry and semi dry region and the necessity of need to water resources, the construction of many dams is justified in inappropriate areas. Dam construction creates some changes in the area, so being aware of morphological changes in both upstream and downstream area is the most important factor for regional management, Reducing damages to structures, infrastructure and reservoir dam. Because of this necessity, the present study is deal with extraction of morphological changes in Taleqan dam upstream as a result of dam construction, applying time deferential remotely sensing data. For this purpose, three set of aerial photos relate to years 1334, 1350, 1380 (before dam construction) is used for extraction of morphological changes. In the next step, panchromatic images (Cartosat-1 satellite) related to years 1388, 1390, 1394 (after dam consternation) are collected. The results show that nearly 58 percent of the study area has negative change in elevation (max 31.2 cm). Whereas the positive elevation changes at a rate of 1 cm to a maximum 12 meters have covered more limited areas (35% range) in the end of main river bed and dam back areas, which is mainly due to sediment deposition.  The result of extracted longitudinal profiles before and after construction from DEMs show significance changes in river bed. Also, change in the profile from the U-close to the similar U-open state is appreciable. Another point is that erosion activity is changed from bed to lateral erosion, and the primary cutoffs are expanding. According to the results, due to base level positive change in this part of Shahrud River, it is raised the conditions for entering into the transformation stage. So in addition to destroying the marginal structures, the conditions for transferring of more sediments from the loose slopes adjacent to the dam reservoir is prepaired.

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