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One of Hakim Sabzevari's arguments on the reasoner and reasonable union of "matter and form" is the argument, in which he considers the ontological principles of matter, form, and soul on the one hand, and on the other hand, he has put the view of Sadra's psychology as the basis for the completion of this argument. In order to distort all the arguments of Hakim Sabzevari, a published article accusing Hakim of "gross confusion" in recognizing the basic contents of philosophy. In this regard, in refuting the argument of matter and form, that article has turned to two major accusations. On the one hand, Hakim has been accused of using allegorical syllogism instead of argumentative syllogism, and on the other hand, it has condemned Hakim for the objection of confiscation. The analysis shows that this argument is based on total unity and that article has been distorted both in terms of reporting and in judgment, it has deviated to adopt illogical positions.
 

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An important subject in the field of linguistics is the impact of one thought system on the community of lingual symbols. The relationship between mind and language conventions has long been of interest to linguists. The importance of this relationship becomes more prominent in comparative approaches where, through comparative study and analysis of the main schemas of the ideas of several thinkers or artists, the researcher traces the consistent and common use of linguistic symbols. In the hermeneutic analysis of the works of Mowlana Jalal ad-Din Mohammad Rumi, the interpretation of symbols, analogy and codes governing his mind and language is a major research interest. One of the most important branches among these researches concerns the kinship of Mowlana’s language codes with other thinkers and artists. On the other hand, Nietzsche, as a transcendental thinker, tries to use a symbolic language in explaining his thinking system. Due to his familiarity with the culture and literature of the East and the essential sameness of some of his principles with Mowlana’s transcendental approaches about the existence, morality, art , etc., Nietzsche achieves a set of symbols common with Rumi, which forms a shared language between the two thinkers.  

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Allegory, is one of terms that despite extensive use and antiquity in the west rhetoric because of had some commonalities and differences whit other rhetorical ornaments, such as metaphor, symbol, emblem, irony and etc. literary critics and rhetorician in providing precise definition and determination of functions of allegory encountered to confusion hence credibility and significance of it in the difference periods according to the intellectual currents to become whit many ups and downs. The Romantic school was one of the processes that first time rhetoricians have tried to study features and functions of allegory compared whit symbol for distinct of borders these two terms and provide precise definitions and specific characteristics of each terms. In fact we owe modern mean of allegory those comments of some ones such as, Goethe, Schelling, August Wilhelm Schlegel and Coleridge. These rhetoricians did the first systematic efforts in clarifying and defining the meaning of the term allegory. On this basis, the essays aim of the writer has been presented a report of functions and features of allegory in the Romanticism school passer authority over critical comments in this regard, such as ; Goethe, Schelling, A. W. Schlegel and Coleridge.

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Hamidi,S.J ,Ph.D.
Shamian, A.
 
Abstract:
 
This essay studies Dream Allegory in Persian contemporary poetry. In this research, Dream allegory has been defined as one type of the vision literature and then comments on its antecedent usage in myths and literary works are explained. Dream allegory expressed spiritual progress in structure of vision journey in the past. But, in recent centuries, except that traditional theme, some new contents have been expressed in its form. Studying this form in Persian contemporary poetry maybe distinguishes quantity and quality of the new themes. The notable examples of dream allegory in contemporary poetry have been seen in Eshghi, Nima, Shahriar, Sepehri, and Shafyi Cadcani’s poets.
 
 

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Allegorical stories indicate the originality and antiquity of the literature of each nation.One of these stories is the report of "the recommendation of father to the solidarity of children with the allegory of their bodily strength in breaking the connected woods”.The aim of this project is to show the verse and prose clues of this story in arabic and persian literature and after the retelling and comparison of each sources, the plot of the story is described and identified in each narratives with a structural view to find out to what extent the narratives were faithful to the first quotations of the story.
 The description and analyses are other similar and different aspects of these narratives have been also done in detail.
The most important result of this study which was conducted based on comparison- comparative method explained that the message of all narratives are similar and is "invitation to solidarity and the phrase invitation to silidarity and integration and the avoidance of division". However, the plot of the story is not the same in persian and arabic sources. Furthermore, the oldest source of this story in arabic literature is a book called "Vasaya Almolouk" and in persian literature "Rahatolsodor".

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The present study attempts to discuss some of the spiritual travelogue and classify them as a genre

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Zolfaghari. H.,PH.D
                                                
Abstract:
 
Allameh Dehkhoda believes that proverbs are one of  24 kinds of the literature. In addition to, proverbs are always the tools for manifestation of people's experiences and also are considered as their experimental wisdoms. When we study the history of different literary styles, kinds and also Persian speaking poets' Divan, it is clear that they have used proverbs as one of the important source.
Not only the poets have benefited from the great treasure of verbal literature, but also they have added its wealth. This interaction has not been considered quantitatively and qualitatively up to now. In this article, a definition of the proverb and also its importance and background are been presented. Then the usage way of proverb in poets' poetry and Persian poetical proverbs and its position through paroemia are been indicated. In addition to, the difference of paroemia with comprehensive word, allusion, methods of equation and allegory have been presented. This article indicates the reflection of proverbs with a view to quantitative and qualitative in poets' poetry of different centuries and analyzes the proverbs in poetry of the thirteen famous poets.  In this way, we understood practically and identically ways that the poets have used the proverb and also its reflection in their poetry.
 
 

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Abstract “Kalila and Dimna” in Persian literature and “Aesop’s Fables” in ancient Greece are two examples of old works of the world’s literature and are classified as works falling within the domain of “animals allegorical fables”. In the present research, the application of satire as a genre of unserious speech which forms an artistic dimension of the two mentioned books is studied. For this purpose, allegorical narratives of the two books in terms of different techniques for creation of satire such as ethical-critical message, verbal satire, situation satire, specific meanings, characterization and … are studied, compared and clarified. The satire applied in “Aesop’s Fables” primarily focuses on demonstration of existing moral and social contradictions in society by profiting from metaphor and extension in verbal satire and situation satire which of course the brevity in length of fables and application of the brevity technique has helped eloquence and comical aspect of this type of satire. In “Kalilah and Dimnah” too, moral and social contradictions have been given attention to by satirical expression and its narratives’ satirical strength is originated from a variety of themes, characterizations as well as situation satire next to verbal satire, with this difference that in “Kalilah and Dimnah” with composition of Nasrollah Monshi, application of narrative-inside-narrative technique together with descriptions and metaphors and those groups of literally fineries which is characteristic to technical prose, made the narratives lengthy and decreased the effect of satire.

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Taghi Pournamdarian, Ph.D.
Zahra Hayati
 
Abstract
Most of the researches which have studied the relation between cinema and literature have paid attention to the differences of literary fiction and drama in the scripts. One of the other grounds in which the ties between literature and cinema can be further on traced is "creation of pictures".  The eloquent concepts of "figurative elements" and "forms of imagination" includes mental literary images and often infers to the implied figurative signs of the observer, being all listed in the science of expression in the variety of fields such as allegory, simile, trope, metaphor, irony and symbol. This article surveys the potentials of "literary allegories" in general and the "poetic allegories" of Massnavi and Shams Sonnets in particular for recreation in cinema's expressive device. The transition of literary allegories to cinema is possible through these potentials: 1. including several visual and animated, dynamic elements. 2. Conformity of pictures and concepts relevant to montage and stage direction. 3. The plenitude of pictures with the same width in the poetry length. 4. Including pictures with a distribution potential in the feature movie text due to the mystical content of completion. 5. Considering narrative texture and dramatic structure.
 
 

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Qodrat Qasemipour. PH.D
Arash Azarpanah
Abstract
This article revolves round the features and types of contemporary short allegorical tales. In the contemporary literary tales, each of the authors have made use of techniques of contemporary story telling while also benefitting from ancient narration approaches and techniques such as figurative speech. The contemporary authors, based on their aesthetical goals, and at times for the purpose of concealing their critical concepts, have resorted to figurative speech. Meanwhile, there are structural and theme-related differences between the ancient and contemporary allegorical tales. In ancient allegorical tales, the author or the poet usually presents an interpretation of the allegory at the end of the allegorical tale. However, the contemporary story writers leave attainment of an understanding of the allegorical tales to readers. The contemporary authors precisely study and narrate the initial layer of the story, which is usually not the case in ancient allegorical tales. The ancient narrative authors and poets made use of the allegory to teach and reinforce their thoughts and ideas, while the contemporary authors make use of allegories in order to present social, political, and philosophical criticisms. The contemporary short allegorical talks, based on their narration structure and literary type, are divided into realistic short figurative tales, figurative tales based on magical realism, fables, figurative tales, and satirical figurative tales. The majority of themes of theses contemporary short allegorical tales revolve round social and political topics, which have been narrated based on a critical and at times bitter outlooks.
 

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Allegory in a partisan approach is a literary industry that rhetoric scholars study under the science of expression and similes, but the allegory, based on the holistic view of discursive approaches to language, is the instrument of discourse that Sufis have always sought through Sufi history. They bring to the spiritual and spiritual elements of their mystical experiences a tangible and intangible body and bring the general and unfamiliar audience into the comprehensible domain of experiences of which they or other Sufis themselves are. If we focus on the capacities of the mystical allegory as a discursive articulation, we will see that each allegory, by placing linguistic signs in a particular relation, creates meaning and rejects potential meanings. From this perspective, allegory is a discourse tool that reproduces the author's intended discourse and disrupts competing semantic systems. Based on such an approach, with the help of methodologies and methodological tools of Laclau's and Moff's discourse theory, this study examines the allegory of "master and servant" as one of the most prolific allegations in explaining the various aspects of the relationship between man and God in mystical works from the third to the seventh centuries. . The findings of the study show that Sufi has used this recurring allegory to reproduce four different discourses of "fear and obedience" "Reza and eradat" "expansion and affection" and "freedom and unity" that each seek to define a legal, moral, The love and the epistemology between God and man have arisen.

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