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One of the forms of being is to think and create antagonism in resistance to the Other. Antagonism is the (mis)reading of the action and structure of the thoughts of the other. One of the most evident phenomenological aspects of the modern Persian poem is creation of opposition. Shamlu’s works are the best example of such oppositional discourses. Through this methodology, not only he reaches new structures in his poetry, but also he expands this method to his other cultural activities. This paper has two parts. The first part presents a phenomenological definition of antagonism and how it is formed by opposition, dialogue, and enmity and how it results in creation of linguistic, cultural, and aesthetic structures. In the second part, the typology of Shamlu’s antagonistic discourse has been studied based on these assumptions. The paper concludes that Shamlu has four kinds of oppositions: reversality, myth making, playing with structure, and breaking the taboos

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The aim of present study was to compare antioxidant properties and investigate the possibility of synergism or antagonism interaction between green tea and oak extracts. Green tea extract in all concentrations had a significant (p<0.05) higher effect than BHT in  DPPH free radical scavenging assay and total antioxidant capacity, and in two concentration in reducing power, and in all of the assays was better than oak extract; While only in DPPH free radical scavenging assay the oak extract was better than BHT. Among different combinations of these two extracts, synergism was found in three combination according to DPPH free radical scavenging assay, four combination in total antioxidant capacity assay and all combination in reducing power assay. In the peroxide value assay, the chosen combination showed antagonism, although it was significantly (p<0.05) more effective than BHT in soy bean oil stability. The result shows that it is possible to use these natural antioxidant as substitute of synthetic antioxidant BHT.

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Lyrical literature and hence romantic poetry is a collection of feelings, emotions and representations of human relationships which has been widely used in different eras and discourses with various even conflicting functions and manifestations. Romantic poetry, distancing from political poetry, discusses politics of literature rather than political literature. However, modern Iranian poetry, deeply connected with politics and protest literature, establishes a different relation between dramatic poetry and political poetry. Shamlou is one of the prominent poets of political poetry whose antagonism and political conflicts are sources of metaphors and constructions in romance. This paper, based on critical discourse analysis, emphasizing the concept of "antagonism" as a key concept in politics, shows that politics is related to romance in two ways. First, such romances are new experiences to represent human relationships. Second, they are against traditional literature, since Shamlou by changing the rhetoric of romantic poetry created a type of literature that is romance in surface but resistance literature in depth.
Extended Abstract
Iranian modern literature is fundamentally different from pre-modern literature; although the way modern literature uses the theological source of pre-modern literature is not its logical continuation. Political orders and the concepts are the most important elements of the distinction between two periods. Usually, romantic poetry is distinguished from political poetry, but Iranian modern poetry, which is connected to protest literature and political matters, has established a good relationship between romantic and political poetry. Studying he relationship between political literature and the politics of the literature is the main goal of this manuscript. The concept of “antagonism" is emphasized here as the key word in Shamlou's poetry, showing how politics is connected to romances. Firstly, these romances are new representations of human experience, and secondly it is a rhetorical change in romantic poetry, which is against the traditional literature. The most important principle that connects the concept of "articulation" to the political issues is discursive conflict; thus, for a better understanding of the conflict, political literature, and the politics of literature discourse, the concept of politics must be separated from the political orders. Any action which is beyond the realm of the individual, can influence the decisions of the society, especially the political power, and in some way modify or oppose it, and it is called a political action. Political poetry promotes the idea of anti-reading, and a political poet as an anti-reading thinks about the "enemy other". After a huge break of the Persian Constitutional Revolution, social movements and the libertarianism language took an explicit form. Literature migrated from traditional lyrical to a new space. Revealing the name of "Aida" with the poet not as a Platonic lover but as a better half living with Shamlou is a kind of conflict with the tradition of romance-writing in one hand and "Literature of resistance" from the other. In political poetry, enemy is the other, and in the romantic poem, the other is the friend. The poet of political poetry thinks about resistance; in this view, the enemy has become a focal point; because the enemy has captured a part of his unconscious like a "central metaphor". The confrontational mentality of the political poet turns the other, such as the enemy, into an object, and turns the other, such as friend and love, into a praiseworthy subject. Contemporary poetry, unlike pre-modern poetry with a negative aspect, brought the private into the domain of the public, and by highlighting the other friend in romantic poetry, created a kind of resistance and negation tool. In his poem, Shamlou clearly says that love is an epic and he sees this reversal from the eyes of the enemy. The link between love and struggle in Shamlou's poems is the internal link between the practice of personal experience and the most external political behaviors. In a general classification, historically, his life can be divided into three parts:
A: The period in which the search for love gives way to experience; the experience of life and poetry, which, according to him, are "not impressions of life, but life itself". This period can be referred to as the period "before the appearance of Aida". B: The period when the poet, tired of the bitter experiences he has acquired in his personal and social life, finds another love and he moves to the house so that love becomes a refuge and a bastion where he can relieve the outside fatigue and find new strength to fight. This period starts from 1962 "Aida's appearance". C: In the third part of his life, although he still has Aida's presence, Shamlou thinks more about death and "struggle with silence" and he remembers his friends. In fact, this same love and social commitment in Shamlou's poetry makes him not distinguish between individual love and public love.
From the perspective of love, three types of love can be distinguished in Shamlou's poem: 1. Romantic love without social pains.2. Personal love with social representations, and 3. General love or love of freedom and man:
1. Although romantic love is not the general indicator of the concept of love in Shamlou's poems; Shamlou has been involved with this type of love in a negative way. He considered individual and public love as opposed to romantic love, which always has the suspicion of eroticism. Romantic love can be found in Shamlou's first poetry collection, "Āhang-hāye Farāmush Shodeh (Forgotten Songs)".
2. Keeping distance from his romantic love, Shamlou discovers love in another dimension: the shadow of resistance; as it can be a strength for fighters who return to fight again.
3. By rejecting romantic love, Shamlou arrived at a special definition of man; a person who can have the courage to deny the disturbing facts and reveal himself as a fighting person.
The convergence of the meanings of the two fields of politics and love has turned Samlou's poem into a different poem. From this point of view, finding the signs and codes of his romantic poetry is not compelling only in purely lyrical spaces. The enemy as a threatening other has caused Shamlou to experience new ways, because the discourse of his poetry is against the discourse of domination; whether we seek this dominance in aesthetics or in the discourse of power. It is in this situation that Shamlou glorifies the beloved as another and brings love into his poem in the atmosphere of resistance to discover a new truth. In individual romances, he uses the same signs and symbols that used before in public love. The same lover with a revolutionary face and the same revolutionary faces with the beloved cause him to not see a difference between public love and personal love.
 

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Abstract:
 
The twentieth century obsession with communication, as Habermass described it, has been affected planning theory and practice. Communicative action as a new approach in planning theories in pursuit of critique of positivism dominance and quantitative approaches in planning in the last of 1970s and through this view that procedural planning theory should be oriented to social welfare goals, considered as a progress in procedural planning theory. Nonetheless, procedural planning theory also for sake of ignoring power relations and its mechanism in society from planning researchers has been criticized as a tool for facilitating the neoliberal ideology. Critics believe that the public in this kind of planning has been become to private sector partners for reproduction of capital and the real people- no part morass in society- excluded from this kind planning. The goal of this paper is to discover the unknown areas of collaborative planning with application of the beginning of politics concept as new formulation of real politics and approach for rediscovery of people.
Exploring of casual relationship of research subject-collaborative planning and the application of the beginning concept for critiquing it- constitute the basic framework of paper and this matter shows explanatory nature of this paper. Also exploring unknown areas of collaborative planning represent the explorative essence. Independence of politics from government construct contingency characteristic of politics and social field. This fact results in reference to people politics energy which has not been revealed and this energy has solved in intra power groups and capital owners and prevents immanent movement.
This article calls for a return to Lacanian perspective in contemporary communicative planning theory and analysis, but rather than traditional critique, it argues for a critique predicated on the psychoanalysis of Lacan and “The real concept. It signals right from that an intention to tamper with the familiar interpretation of planning theories to shake up current flow of theorization to allow other, more radical thoughts to be emerge. According to this approach, planners and policy-makers should be involved with conflicts and agonism more than consensus building.
At that point in history, planning theory was dominated by systems that upheld rational approaches which gave planning processes priority over the possible results. Some like Mouffe and Laclau were among the chief detractors and critics of this approach who saw it as rooted in an apolitical basis. Lacan provides an explanation for this challenge based on his theorizing about human subjectivity— how we acquire the identifications that constitute ourselves as planners. The article will deploy Lacan’s explanatory power for understanding how the professional identities of planners and the central ideas constituting the planning discipline are interrelated. Particularly, Lacan’s theoretical model of the four discourses will be used to explore planning education and how aspiring planners acquire and internalize the discipline’s often-diffuse sets of traditions, beliefs, knowledges, and values.
In this article, I will trace a reconfigurative path through the Lacan’s psychoanalytic theory, picking out the hidden narrative that has instigated the contemporary reassertion of antagonism and conflict in planning. My intent is not to erase the historical discussion about consensus in planning decision making process but to open up and recompose the territory of the communicative planning through a critical reference to antagonism in planning.  As will be evident in this article, this reference and reassertion of conflict in planning theory and practice is an exercise in both deconstruction and reconstitution through Lacan and Mouffe viewpoints. It cannot be accomplished simply by appending spatial highlights to inherited planning theories perspectives and sitting back to watch them with logical convictions.
The article argues that a Lacanian inspired phronetic model is particularly useful for understanding spatial planning and related urban policy discourses, for it provides insight as to how desire and resultant ideological fantasies shape our shared social reality and spaces of habitation in our globalized world. Why is it so difficult to define concisely the meaning of ‘planning’ and many of its dominant concepts—public interest, new urbanism, sustainability or smart growth—when deployed in formulating urban policy? Lacan’s discourse theory suggests an answer based on an understanding of our human subjectivity, a subjectivity that implicitly seeks to overlook contradiction and ambiguity in our desire to fulfill human aspirations for a harmonious and secure world. This article will use Lacanian theory to examine the beliefs of the planning profession, how they are shaped and then implemented in our urban environments.
This article, maps out a new political approach in planning theory and practice that is deeply rooted in the real concept of Lacan and the political concept of Mouffe that applies equally well to critical planning theory and to decision making process. The fist fruit of this approach – and the first lessons of planning theory that embodies it – is the idea that planners can understand planning environment uncertainty, complexity and conflicts only by locating himself within antagonistic environment. This approach enables us to grasp real practice and theory and the relations of stakeholders in planning and decision-making process. I draw upon Lacan’s depiction of what is essentially a real imagination in planning to illustrate the logic of antagonism that help realization of planning decision making process.