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Hesampour ,S. ,Ph.D.
Hasanli , K.  ,PH.D
 
Abstract:
 
Omar Khayyām is one of the most well known Iranian thinkers and medieval poets and his work has been internationally acclaimed. The limited number of his poems is counterbalanced by their deep meanings.
Various studies have been devoted to Omar Khayyām.  However, researchers and literary men alike have mostly focused their endeavors on analyzing the depth of his thoughts as to the inner secrets of the self, his rhetorical questions concerning human existence, its origins, ends and ultimate fate while leaving aside a very important constituent of Khayyām’s poetry, its aesthetics.   This lacuna led to the false impression that his poetry is structurally weak and not endowed with aesthetics elements.
 In this study, we showed the interconnectness and harmony of Khayyām’s artistic lexicon and imagery with its form and content.  Khayyām’s poetical aesthetics elements have been analyzed on three levels:
 1.Artistic relation between poetical elements
 2.Imagery
3. Emphasis and repetition.
 
 

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Al-Fasilah has kept the different definitions in scope of human sciences; however it appears as an expression in theology & in Quranic sciences and means usually the latest word of a verse. Although some theologists distinguish between first word (Roûs) and al-Fasilah (last word), asserting that the latter is more general than the other. In certain resources, Farra is the first one that has commented about al-Fasilah, while in the others, Khalil-ibn-Ahmad is presented as so. Among these, Baqelani mentioned to relations between al-Fasilah in one side, and miracle assumption of Quran, in another side. Because has not been done any research which concerns directly the decisive role of al-Fasilah in process of Quran translation into Persian language, this research is seeking answers to the following questions: 1) what role does al-Fasilah play in formulating connotations of a single verse or of a surah in whole? 2) To what extent these translations can make the connotations transmittable? The results show that al-Favasil not only affect the connotations of one verse, but in some case, an entire surah is affected in terms of semantics, phonology and syntax by them. Finally, we can include that translations would achieve success whatever they refer to the exegesis references for better understanding connotative dimension of al-Favasil.

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Sistani couplets are indubitably a part of the spiritual heritage and folklore of Sistan. They originate from Sistani people’s culture, civilization and interests. The residents of this territory express their feelings, emotions, enjoyments, deprivations, wishes and desires in the best possible manner with an emotional language and in the form of most tangible imagery. Having studied about400Sistani couplets, the author of the present paper has analysed and discussed the structural, literary and content characteristics of the so called couplets. The findings of the study show that the structures and forms of the couplets in question are very similar to those of Persian couplets in that they do enjoy rhythm, poetic form, rhyme and Radif, although there are some irregularities in terms of rhythm. Statistical investigations indicate that Sistani poets’ interest in using Radif is twice as much as their interest in using rhyme. In terms of rhyme, almost half of the couplets meet good rhymes, and the rest of them either have bad rhymes or lack in rhymes. These are all redolent of Sistani poets’ admirable flair and delicate taste for providing beautiful and agreeable couplets adorned with pleasant imagery.  

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Description: The study of historical axes is considered as a necessary subject for valuing and preserving the cultural identity of people in the structure of the city and it is a kind of mental and meaningful heritage of a society. While most studies focus on the body of urban facade, there are limited studies to analyze urban facade based on subjective dimensions and meaning. Objective: The main goal of this research is to identify the effective indicators in the redesign of the facade of historical axes based on the semantic dimensions and the mental image of the citizens. The qualitative-quantitative combination of research and research conducted in this field to validate the indicators is considered another goal of the research. Methods: In order to achieve the goal, a systematic review method has been used, and Farsi and English scientific-research articles have formed the statistical population of the research, and examining the interaction between research conducted using the tool of the review method is considered an important tool. The statistical population of the research is about 73 articles, which are based on keywords (mental image, meaning, and historical axes). Some articles were excluded from the research process in the screening process based on the PRISMA checklist, and finally, 57 articles formed the final statistical population of the research, and in this regard, Persian databases (Irandoc, Civilica, Elmnet, and Magiran) and in the field of English-language articles, databases (Scopus, Elsevier) have been used. Findings: The findings show that the geographical distribution and the contextual characteristics of the environment have a direct impact on the understanding of the environmental meaning in urban facade and the indicators follow this issue. The internal structures of society, culture and individual dimensions are also abundant in the literature of the world, and in the quantitative dimension of research, the lack of use of basic theories and communication between components is considered one of the weaknesses of the researches. Based on this, the components and qualities of urban facade and the relationship between them and the basic theories have been collected through analytical tools and matrices, which include indicators such as maintaining the individual and social dependencies of the environment, the involvement of the five senses, and the existence of volume based on shape. Conclusion: The result expresses the deep connection between the mind and the semantic dimensions in the historical facade. Due to the existence of cultural and historical heritage, historical axes have independent identities and characters that can stimulate the mind to understand their inner concrete meaning.

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Popular culture deals with the public perception of habits, traditions, anecdotes, beliefs, anthems, proverbs, and oral speech, having been discussed in different areas of humanities including sociology, history, psychology, literature, art and even religions. Literature is, in its technical sense, marked with folklore elements. Particular attention to literature in multidisciplinary studies is a new approach.
An itinerary is a personal account of the conditions of the cities and nations visited by a travel writer. An itinerary encompasses invaluable information by means of which the social, political and economic realities of different historical periods can be established. Moreover, it is among the most critical ways to analyze and compare various nations, being at the same time the best way to gain insights into diverse phenomena surrounding popular culture and social communications, about which little has been written in historical documents.
This research, descriptive-analytical in nature, was concerned with investigating Iran’s popular elements, popular culture and social communications (folk literature of Iran). It also focused on popular-culture-based behaviors in the eyes of the Moroccan travel writer, who traveled across Iran during the Mongol Empire.  The findings indicate that folklore elements occupy an important position in Ibn Battuta’s itinerary. The appearance of these elements is mostly focused on eating habits and foods.

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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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Se-kheshti is a type of Kormanji's poems. The aim of this research is to describe and classify the frequent image clusters and analyze their representation in the Se-kheshti. We used oral and written sources to check examples. The study follows which group of phenomena the basis of the images represented in these songs is taken from, and which image cluster these images can be classified in. The theoretical basis of this research is linguistic image and virtual image which is influenced by two types of real and virtual language use in literature. The findings of the research show that image clusters of lover and natural environment have a higher frequency. Also, the imagery in these poems is realistic and closer to the pole of description and interpretation.
 

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This study aimed first to investigate the relationship between Normalized Difference Vegetation Index (NDVI) and vegetation attributes (vegetation cover, bare soil, litter frequency, and the amount of biomass) and, then, evaluating the vegetation changes using NDVI in semi-arid rangeland in western Iran. Ground data were collected to assess the accuracy of NDVI index.   For this purpose, 14 sampling units were randomly selected for collection of vegetation attributes including biomass, vegetation cover, litter, and bare soil. Then, the correlation between digital pixel values ​​and the sampling units were analyzed. The results showed that NDVI was highly correlated with all vegetation attributes. The maximum correlation was related to vegetation cover (0.84). So, to evaluate the vegetation changes, the NDVI maps were created in 1986, 2001, and 2013. The results showed that the amount of class 1 (very poor vegetation cover) increased from 0.27 km² in 1986 to 12.89 km² in 2013, and also class 4 and 5 (good and very good vegetation cover, respectively) decreased about 27.8 and 37.7%, respectively. The relationship between precipitation and temperature with NDVI was investigated to assess the sensitivity of NDVI to these parameters. The results showed that the amount of precipitation decreased during the studied time periods. This parameter seems to be one of the most important factors affecting the vegetation in our study area.

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Este’areh is one of the most important poetic devices and of portraiture elements in carrying imagination in poetry to an extreme. History of this rhetorical topic dates back to Aristotle's Poetics and the topic of Este'areh in Arabic and Persian literature emanates from the same source. English equivalent of Este'areh is Metaphor. But, are these two exactly the same or they differ from each other? Here, pointing out the opinions of Sakkaki and Jorjani, the definition of Este'areh and its various types are given briefly first; then its difference from Metaphor is investigated. The result of the investigation is that although Metaphor, too, is a variation of metaphoric expression, its aim is not expression of beauty of simile, but transfer of meaning. Este'areh and Metaphor differ from each other because the former is based on simile and similarity, but the latter is based on "free association."

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The term ‘SciArt’ refers to bilateral relations between art and science, including artistically-inclined science, science-minded art, and intertwined SciArt activities. In this definition, different disciplines from metaphysics to physics are reckoned as science, as different types of art- from literature to music are counted as art. The SciArt approach, in the fields of philosophical inquiry, can be accounted for by Farabi’s works. As Farabi holds, rational well-being and rational truths just might be brought to mind of people via imagery and analogy. In Islamic philosophy, two representatives of the field are Ibn Tufail and Suhrawardi. I will compare and contrast the main characters of these two major figures in chronological order. Plus a few more philosophical and mystical issues Ibn Tufail developed in scientific matters like anatomy, autopsy, and vivisection in the non-allegorical style. Contrary to Ibn Tufail, Suhrawardi explains mystical vs. philosophical problems in his fictions, using the allegorical style. He represents the world of spheres and the sublunary realm by a variety of imageries like nine shells, eleven layers of a basin, and eleven mountains. Both Ibn Tufail and Suhrawardi use fictional manner to explain mystical as well as philosophical themes.