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Since the earlier times, stories on prophets, miracles and their adventurous and instructive life have received special attention as effective elements in the literature domain, embellished literary works and attracted attention of huge number of readers. One of the most enticing, influential and noteworthy of these stories is on Jesus Christ. In the literature of the past, most of the poetical interpretations of him are more under the influence of Islamic point of view and less on Christian one, which in most part is in conflict with Islamic trend of thought on some significant issues. In the modern literature and specially the contemporary Arabic and Persian poetry, the Islamic interpretation of Jesus is encountered by a considerable Christian turn and some concepts like Jesus' sufferings, his crucification, his sacrifice for redeeming the human’s sins and his resurrection after death derived from Gospel find their way into poetical works. These concepts have been converted into mythical and symbolic ones in the Christian art and considerably aid poets in expression of internal anxieties, victimized nations’ suffering, cruelty of governors, cruel governments and so on. Adonis and Ahmad Shamloo are two modernist and experimentalist poets that some parts of their poetry are devoted to symbolic and mythological depiction of Jesus Christ. Relying on American school in comparative study, this comparative study attempts to investigate the motif of Jesus in Adonis and Shamloo’s poetry in a comparative manner and analyze some considerable issues in their poetry including Jesus’ Christian or Islamic aspects, the styles of these two in depicting him, their points of commonality and difference in Jesus' symbolic interpretations and success or failure of each in applying these symbols.

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In relation to the impact of Persian literature on the west, in the 19th century, Ralph Waldo Emerson is one of the most outstanding American figures. His interest in Persian poetry, particularly that of Hafiz, encouraged him to translate some Persian poems into English. He also composed some poems with oriental inclinations, inspired by Hafiz and the mystical poetry of some other Persian poets. Emerson also wrote an essay, entitled “On Persian Poetry”, in which he introduced German translations of Persian literature as his source of knowledge and revealed his high regards for Persian poets. However, his greater admiration for Hafiz than for others in this essay is due to the fact that to him Hafiz, while being a greater poet, was a liberated minded intellectual as well. This study is an attempt to scrutinize Emerson’s observations of Persian poetry. First, the sources from which he acquired his oriental notions will be examined. Then his view on Persian poetry will be focused upon, and finally his praise for the merits of Hafiz’s poetry including: intellectual liberty, transcendental vision, Takhalloss (his mode of copyright), the function of the hidden layer of meaning in his poetry, etc. are going to be examined. This comparative study will finally present Emerson’s misconceptions in the field of Persian poetry. His mistakes and misconceptions might be the result of cultural differences, his lack of knowledge of Persian language and different time span in which the two poets lived.

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This article explains the common themes of Shahriar and Fowzi Maalouf's poems by asking what common themes of their poems about nature were. To answer this question, in the research process, a descriptive analytical method has been used based on library studies and content analysis of the data. The findings of this research indicate that Shahriyar has given some reflection on the nature of the Fowzi due to a periodic crossing of his life in relation to romantic tendencies in nature. Shahriyar's attitude toward nature is the result of his own experiences and personal acquisitions, while in Fowzi's view, nature is the source of inspiration for many concepts. The characterization of nature is more realistic in the sense that the Fowzi's poetry takes on the utopianism.

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This article seeks to use the descriptive-analytical method and relying on the definitions of social modernism to address the issue of social innovation in the poetry of the two poets and what are the similarities and differences in each of the topics? The analysis of Baroudi's poetry suggests that he is taking advantage of the sophisticated taste as well as following the critics of the West to the affairs of the people and to correct the defects in society. Like Farrokhi Yazdi, he addresses issues such as central justice, homeland, despondency, attention to poverty, opposition to oppression and oppression, and invitation to studying science as one of the most important subjects of his poetry. The most important aspect of Baroudi's and Farrokhi's poetry's differences is that Farrokhi, as a responsible critic, deals more with the community and related issues, but in Baroudi's poetry, he makes imitation of modernization. However, with the advent of the Arab movement and the issue of exile, it is twisted within it and pursues a sharp eye and a sharp sensitivity to the social problems of its country.

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  This is a comparative study between two outstanding poets from two different cultures and civilizations. We try to show the effect of modern attitude on the two poets, T.S. Eliot and Ahmad Shamlu. For this purpose, we explain the word modern in the first part, then the history of modernity in Iran and Europe is described in brief. At the end, their similar thoughts and works are compared on the basis of modernity and literary modernism characters. Also we go through details of modern thinking in the above poets. We can brief our reasons for choosing these two poets for comparative study in these factors as:                                                                    First, they lived approximately at the same political, social and cultural context, which led them to create the same works and thoughts.                                                              Second, Shamlu is known as social poet and, like Eliot, lived in a revolutionary period. Eliot was under the impression of the world war and modernism, and Iranian poet had experienced 28^th Mordad coup deta and the 2^nd world war. Also he experienced the period of transition from traditional to modern society. So these poets have many similar characters for comparative study.                                                                    

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Cubism, which revolutionized the visual arts during the first decades of the twentieth century, had a significant impact on literature. It is often considered to be the twentieth century’s mode of expression. This article examines the influences of the cubist style on Hajm poetry – an avant-garde movement in contemporary Persian poetry which is mainly associated with Yadollah Royaei’s works. The main question of the article is how it is possible to apply the visual aesthetic principles and techniques to literature. The article is divided into three main sections. In each section, one of the common fundamental concepts between these two movements is introduced. These concepts are as follows: (1) the essence of the thing and the representation of reality; (2) three-dimensional image and the movement of the image; (3) and the concentration on the process of the creation of literary work through focusing on the materiality of artistic medium. These concepts are concretized by using some devices which create an effect similar to the cubist visual techniques, the consequence of which is to challenge the concept of representation in art and literature.

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Joukar.M,.PH.D.                                    
Abstract
 
In an overall view, Saqiname (drinking song) and Moghaninameh can be considered as a tavern lyric were particularly a dominant genre from 9^th to 12^th centuries (A.H.). The more elaborate and complete forms of this genre were composed as rhymed couplets (akin to heroic couplet). This type of poetry would allow the poet to express the forbidden thoughts of his time under the pretence of ecstasy caused by wine drinking. The invocation of wine, tavern, and cup-bearer (Saqi) might also be a kind of denunciation of what he considered as rigmarole. From this perspective, Sakinameh is a social, idealistic and even rebellious poem.
The aim in this article is to define and examine the structure, characteristics, and background material of this genre. Considering its precedent in Persian poetry, then two samples, a classic one (from Zuhuri Turshiz, due to the elaborate ad complete structure of his poem) and a modern one (from Hooshang Ebtehaj, the Iranian contemporary poet) will be compared and studied.

 

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 Abdollahian.H.,PH.D.
Abstract
 
There are, still, many unmentioned subjects in the Persian rich literature, deserving careful consideration and discussion. Line-story is a fictional form that has been exercised in Persian poetry from the ancient periods up to now. As far as the writer knows, this form has not been examined up to now, while it is worthy of paying attention as a kind of fictional form, having special features. Line-story, as its name indicates, is a complete story which is narrated in one line and has the essential elements of a story. Considering the fact that it is not possible to elaborate a story within a line, the fundamental narrative features should be recognized. As the sources reveal, plot, character, action, time and place are the basic components of a story, and each line, having these elements, can be considered as a line-story as well. To give some examples to support his argument, the writer has found 22 line-stories in both old and contemporary Persian poetry. The techniques for developing plot, character, action, time, place and atmosphere are studied in this tiny form as well. Line-story, on the one hand, is like Japanese Haiku because of its brevity, and on the other hand, it is close to the American Minimalism due to succinctness and avoiding description.
 
 

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By emphasizing on the correspondences of linguistics and psychoanalysis, Julia Kristeva has presented new theories about the analysis of literary texts. “The Theory of Abjection”, which is derived of her post-structuralism researches, considers the author as a speaking subject who, through a poetic and semantic language, moves away from the ravages of his around. Kristeva has examined the applicative possibility of this theory in European literature. In this paper we focus on a contemporary Persian poem ("I am concerned for the garden" by Forough Farokhzad) for demonstrateing an application of the analytic approach of  the “Theory of Abjection”. Hence, we aim two principal purposes: firstly, we try to represent an exhaustive panorama of the analytic approach of the Theory of Abjection, and secondly,  we examine the possibility of creative interpretations of this poem According. Finally we try to examine the possibility of application of analytic approaches of this theory for the contemporary Persian poetry.

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By emphasizing on the correspondences of linguistics and psychoanalysis, Julia Kristeva has presented new theories about the analysis of literary texts. “The Theory of Abjection”, which is derived of her post-structuralism researches, considers the author as a speaking subject who, through a poetic and semantic language, moves away from the ravages of his around. Kristeva has examined the applicative possibility of this theory in European literature. In this paper we focus on a contemporary Persian poem ("I am concerned for the garden" by Forough Farokhzad) for demonstrateing an application of the analytic approach of  the “Theory of Abjection”. Hence, we aim two principal purposes: firstly, we try to represent an exhaustive panorama of the analytic approach of the Theory of Abjection, and secondly,  we examine the possibility of creative interpretations of this poem According. Finally we try to examine the possibility of application of analytic approaches of this theory for the contemporary Persian poetry.

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Applying Gideon's Theory of Norms in Qualitative Assessment of Translation of Feridoun Moshiri’s Poems in Arabic. Translation acts as one of the agents of thought change as a bridge for the transmission of thoughts from different languages to one another. Translation has long attracted the attention of translators, and its translation or non-translation has always been the subject of controversy among translation theorists. Poetry is in its most succinct form a language whose language is often not explicit but implicit and moving all of its semantic layers to the target language is very difficult. In translating poetry into Arabic, Iranian poets have moved on to other literary works. In this era, we are seeing more translators trying to translate contemporary Persian poetry. Many of these poems have been translated into Arabic by translators. This method deals with the translation process or the act of translation itself. His theory points to the literary formats that exist in any particular culture and one of its main achievements was that Attention to the relationship between the individual texts of origin and the destination focused on the relationships that exist between the destination texts themselves. the main result of the qualitative evaluation of Abdul Moneim's translation to Arabic Indicates that his work It has an acceptance in the destination culture but it is far from sufficient in the Farsi.
 

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Language as a fact and social behavior is always invariant with social, cultural and traditional values. Vocabulary has an ideological identity card, and by digging the archeology of the vocabulary one can achieve inequality in the position and social roles of men and women, because they create, promote And reinforcing sexual ideologies through the same language and through discourse. In this research, the author of this study, with the approach of the sociology of language and with the descriptive-analytical method, wants to specify the cultural and social position of contemporary Arab and Pars women, based on the poems of Kuwaiti poet Sa'ad al-Sabah and Iranian poet Simin Behbahani. Achievement of the research shows that in choosing linguistic structures and patterns, Suad Al-Sabah and Simin Behbahani's follow specific linguistic patterns of their gender. Because women have been deprived of access to power in the community and have been deprived of their proper social base; their frequency of using emphasizing sentences in their poems is highlighted, so that their speeches may be considered. Using speaker's pronoun, those two poets aim to disturb the balance of power and prove the presence of women more actively in the cultural and social areas. These two contemporary Persian and Arab poets, with the help of mental metaphors, and metaphorical schemas, bring forth or create certain meanings. Suad Al-Sabah has cited Cygnus as a metaphor from a contemporary Arab woman to say that the contemporary woman has lost her freedom and her country has become a prison for her. Simin Behbahani's using the metamorphic "Gypsy" for contemporary Iranian woman, expresses hatred of allegiance, weakness, oppression, homage and submission, and demands human rights, liberty, pure and mutual love.

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M. Fazeli.PH.D.
Abstract
In the Persian poetry and literature, Omar Khayam is the representative figure of a peculiar worldview and the voice of several thinkers and silent poets who kept silent and as a matter of fact offered their words and speech through his name. Therefore this article intends to show the major principles and characteristics of Khayam’s school of thought. The research method chosen for this purpose is a combination of critical methods based on written material, historical events and phenomenal methods. And instead of relying on unfinished issues such as the originality of Khayam’s poetry and identity, it offers his message in a rather more balanced manner. Through referring to the previous researches made on Khayam, this goal was made practical.
So for earning this purpose various interpretations, and even contrasting ones, made on Khayam’s poetry and their relevance with his thoughts and speech was surveyed. Finally for determining the principles and structure of Khayam’s school of thought, his thought system was divided into five major categories considering the common concepts and messages within these poems. Then by offering an example from Khayam’s poetry, the message and motif that he had in mind was analyzed.
 
 

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 A.Goli.PH.D.
Sardar Bafekr

Abstract
One of the manifestations of beautiful expression in literary works is paradox. This literary art may be used in the form of interpretation or combination. In Saeb’s poetry, both forms of this literary device is intermingled with aesthetic and discourse arts including metaphor, simile, bifacial image, irony, imagery, equivocation, and exaggeration which increased the beauty of both content and expression. Discovering these links can be quite helpful in understanding the poet’s purpose and final point. This essay reveals variety of paradoxes along with an offered diagram on Saeb’s poetry and then the factors leading to this issue are analyzed.
 
 

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Mohammad Barzegar Khaleqi, PH.D.
Kolssom Qorbani Jooybari
 
Abstract:
This research analyzes the term “soul”, one of the magnificent secret codes in Shams’ sonnets; the eternal masterpiece created by Jalal-Eddin Mohammad Balkhi. Through using the diverse functions of ‘soul’ in this analysis, the variety of its meanings are perceived and the transcendental path of this concept is known. The perception of the different concepts of ‘soul’ takes place in three steps; in the first stage the lexical concept of soul is perceived through the relation existing among synonyms, antonyms and symmetry. In the second stage, the perception of the concept of ‘soul’ happens through its attributes and adjectives. And finally in the third stage the concept of ‘soul’ is perceived by figures of speech; simile, metaphor and symbol. The authors then have studied the concept of ‘soul’ throughout the great poetry book; making an attempt to elaborate and express the concealed concepts underlying it; trying to show how ‘soul’ goes beyond a mere lexical function and finally reaches a symbolic stage; while this study shows the concepts and traits of meanings it bears within each stage.
 
 

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The image and description of the image of beloved is one of the most important issues in Persian and folk poetry. Images and testimonies help both draw objectively the beloved body and the attitude of the poet, as well as the general attitude of the society and culture in which the poet lives. The purpose of this research is to examine the images and descriptions of the beloved body in Bakhtiari's folk poems by comparing them to the image of beloved in Persian poetry to answer the following questions: What elements are used to describe the beloved body and what are the adjectives that show the differences and similarities with Persian poetry in this area? The results of the research showed that, in Bakhtiari folk poems, the images look more like typographic characters (sensory, sensory, singular to singular and detailed), and that the names of this type are different. The poets used this type of comparisons in which the signified is much closer to the referent. Bakhtiari's life is based on nomadism, alongside agriculture and, to this end they rely more on the sky and constellation. A greater number of these elements is therefore used to illustrate the climatic color of the images which is very high. Compared to Persian poetry, there are differences and similarities that are more similar in terms of descriptions and differences in the field of imagery.
 

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Ahmad Reza yalameha, Ph.D.
 
Abstract
Asir-eddin Akhsikati was among the Persian poets of late six century who was skilled in creation of new concepts and meanings and a well-known elegist of the Persian language. He lived in Ekhsiket in a region of Transoxiana. His book of poetry, known as Divan, was only revised and published once in 1999 by professor Rokn-oldin Homayonfarokh. This publication includes a preface on the poet's life and the method used for the revision and rewriting of old manuscripts about Akhsikati's work. Although the reviser has gone through a lot of trouble for the revision and has compared a number of manuscripts, due to delay in the comparison of the manuscripts and several misreading and disability to read many parts from the original work, added to the displacement and omission of verses, a high number of the poetic verses of this poetry book remain ambiguous and unclear. There are also too many deficiencies in the poems as well. The author of this research has had access to a few old versions of the poet's book of poetry and compared it with the published copy, finally identifying some of the mistakes, the demanded corrections, the unclear parts and even the rhythmical differences, some of which are mentioned in here. As a matter of fact some of the words have been misspelled and therefore found a totally different meaning.
 
 

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M.Khurasani, PH.D.
 
Abstract
The main aim of this research is to analyze and the exact understanding of scientific work that has been identified as dahnameh (Ten Letters) in the history of Persian literature. From the beginning, we have encountered with two fundamental questions: First, what is dahnameh? Second, what is the source of its origin? To identify and explain dahnameh or to access to the fact that whether or not it has possibility of classification like a literature, we preferred axial method of critical structuralism. And, etymological study of this type was followed with the study of axial history of Persian composition i.e. a kind of comparative study simultaneously and in given time.
Dahnameh, according the proposed research, is an independent and justifiable composition that structurally has been blended in two forms of mathnavi (couplet poems) and ghazal (ode). Hero or in other words lover writes amorous letters to his beloved and gets reply from other side. These letters are delivered by a courier. Hence, it begins the narrative of love entanglement of hero and with backbiting of middle actions it leads to the end (lover’s attainment).
From the real dimension and desire of the actual study, it can be said that Oshshaq Nameh of Iraqi is the beginning of a kind of constant Dahnameh composition but their origin must be seen in the compositions of Vais, Ramin, Vergheh and Golshah. Other than Iraqi, Hamam, Ohadi, Ibn Nasuh, Obaid Zakani, Rukn Sayen Semnani, Shah Shuja’a, Ibn Emad and Hariri are other composers of Dahnameh.
 
 

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Mohammad Foladi, PH.D.
Mansoor Ebrahimi, PH.D.
 
Abstract   
The current article tries to study the natural elements mentioned in the poems of two important poets of Khorasani style i.e. Unsuri Balkhi and Manuchehri Damghani. For that matter, first, those elements in the poems of Unseri were defined based on ten ingresses and with an emphasis on plants and animals and then with the help of SPSS software these were extracted, analyzed and compared with the elements in the poems of Manuchehri. Results show that almost all literature of Manuchehri and Unsuri contain at least one natural element which is indicator of a particular emphasis of these two poets on nature and environment. Flowers, plants, birds and animals have been reflected widely in their poems. Among birds, although nightingale often reflected in the poems of these two poets but birds are more common in the works of Manuchehri. Among domesticated animals, horse, elephant and camel and among undomesticated animals, tigers have applied most that have been analyzed by the current paper.
 
 

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Persian poetry has been a vehicle for reflecting plays and theatrical games, a source if absent might reduce the quality of performative arts. Accordingly, this study attempts to show which themes and features of the plays have been most prominent in the Persian poetry, and in this interplay, what the poetry has gained from the play, and which themes and images are taken from the world of play. The research method is descriptive-analytical based on the library study and document analysis. Two programs called Erfan e Noor and Darj have also been used. This study shows that the Persian poetry has retained some of the features of the play, and more attention has been paid to two games called acrobatics and puppet shows. Reflecting the themes of the play, the poets have paid more attention to theme creation and their poetic imagination, and the imagination based on the play has a significant role in this regard. The earliest Persian poets of Dari as well as the contemporary poets have reflected theatrical themes in their poems; from Ferdowsi and Manouchehri to Qa’aani and Farahani. Among them, Nizami Ganjavi has paid more attention to this aspect than the others. Also, for the first time in this study, the mystic attitude towards the plays has been examined; it has been realized that they have often used the allegorical form of the plays. The mystic allegories are rather codified. They are similar to Khayam's philosophical allegories. In terms of literary analysis, most images are created by metaphor, simile, allegory, and coded allegory.