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Imagology is one of the literary theories in comparative literature .Imagologie's component can be considered in six components: cliché, mold pattern, pre judgment, image, symbol and myth. In this article, foreign's image in Ferdosi's Shahname is epic work which is in defense of Iranian's national country and it is analysed in aspect of stereotypes processing. cliche (public belief) is a expression that is used by water Lip Man in America for stating public belief among one group or culture. The result of this research is that the reflect of foreign's image in Shahname in form of stereotype processing contain 13/58 percent from all of the four cases of foreigns personalities which are surveyed in this research. According to cliché's component, foreign personalities in Shahname can be divided to three categories: a) foreign's personalities who are linked by marriage with Iran. B) personalities who are going to impose a power or taking taxes ,attacked to Iran. C) using Iran's hero's power in foreign country. Among this one, the most relationship with foreign is done by establishing adultery link laundering .ferdosi has drawn the cause and result of these relations by others unpleasantly.  

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Imagology or representation of the “other” provides the opportunity for the nations to see their face in the mirror of the “other”. Through imagology, the conversations begin, and identification of the “other” leads to recognition of “self”. Alterity and the necessity of recognizing “other” are significant keys in self-awareness. Examining several layers of travelogues represents a way to discover the underlying meaning of the text, with regard to the imagological keywords such as I, the other, classified view, judgment, and stereotypical thinking. These layers are read in four stages in Sharh-e Zendegani-ye Man by Abdollah Mostowfi (1878-1950), in which he explains his journey to Russia. The first layer is read, regarding the difference between “I” and the “other”, and the influence of the “others” on the author’s life. In the second layer, the classified view of “I” (Mostowfi) upon “other” is studied. The third layer refers to Mostowfi’s consideration of the reality of Russia and the effect of his stereotypes and mental concepts thereon. The fourth layer includes his linguistic structure and descriptions. Ultimately, Mostowfi’s journey to Russia is affected by his view and mentality, and it is not an account of the absolute and certain reality. By clarifying his way of thinking and living, his time, and the political and cultural relations between Iran and Russia at that period, along with his presuppositions and mental concepts, we can grasp a relative understanding of Mostowfi’s picture of Russia.

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Travelogues are among the sources of various literary styles that provide important information about the historical, cultural, artistic, and anthropological background of a country through the images recorded by the travelogue, so far as they have a great contribution in the social-historical reconstruction of a country. The simple and stereotyped definition of imagery or imagology, which has an interdisciplinary approach in comparative literature, is the study of another image in one's own literary texts and vice versa, that is, the study of one's own image in other literary texts. The more accurate the view of the travelogue writer is, the more comprehensive the report he presents in his travelogue is whcih increases its credibility. The correct transmission of this information also helps the accuracy of the travelogue. If a writer is not careful in any of these steps, knowingly or unknowingly, he will make a mistake in accurately recording the reports and the truth, or a part of it will be neglected. On the other hand, we cannot ignore the influence of stereotypes and mental sediments of the writer on what he writes. For these reasons, there is not much expectation from literary texts to reveal reality and facts, and in this sense, literary works cannot be compared with facts and scientific studies. Pollack's travelogue; Iran and Iranians includes the description of pictures that Pollock, an Austrian doctor, saw and wrote in Iran. These observations, which go back to the end of the Qajar period during the reign of Naser al-Din Shah, are divided into two general parts: the first part includes the number of people, geography, customs and eating habits, clothing, etc.; the second part includes the government system, the court, and court occasions, diseases, medicine and treatment methods, medicines, etc. Pollak's claim is that he wrote the contents of his travelogue accurately and without bias or mistakes; however, this study revealed that such as claim is not very accurate.
 

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Imagology is an approach to comparative literature and aims to study worship representations. The image given of the society viewed through descriptions by a viewer may well reflect the cultural differences and mismatches that exist between the two cultures. The first Iranian modernists, Akhondzadeh and his fellow travelers, among others, tried, by combining literary art and social criticism, to highlight this cultural gap and thus encourage their readers to accept alterity. To this end, they have created literary genres that best adapt to the representations of their society and those of the ideal society. In this article, with the aim of making an imagological analysis of the works of these authors while taking advantage of the theories and approaches of imagology we will study the stylistic and structural properties of the texts of Akhondzadeh and A Traveler tells. We will also analyze the reasons why these authors succeeded in transmitting their message and how they mentally prepared their readers to accept a cultural transposition.
 

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Studies of the reception of a writer in another culture primarily deal with the translation of the works into the target language. Such studies usually ignore the translation of the writer’s image. The present essay focuses on the translation of Walt Whitman’s image into a contemporary Iranian context. In this study, “image” refers both to visual representations, such as pictures or photographs, and the mental conceptions held in common by members of a group, such as is the subject of imagology.