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Abstract:
Zarrin Qabā Nāme is a huge verse in 23133 couplets that probably has been versified in the Safavid period. Its poet is unknown and beginning of itś matter is coming of Solomonś messenger (Zarrin-qabā) to Keyxosrowś court and his confronting with Iranians. Afterwards several stories are narrated that their important persons are Sistanś heroes. Structure, language and content of Zarrin-Qabā-Nāme are storytelling-folklotic. Therefore, studying of its important motifs is useful in knowing and completion of Iranian folk- storytelling literatureś motifs. In this paper, some of these kinds of points and motifs are studied in four parts: 1) Semitic and Islamic matters 2) Rare and single indications, 3) Other matters and contents, and 4) Modeling from other stories.
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Undoubtedly, understanding the Holy Qur'an and representing lingual concepts and innovation may be difficult. Thus, it is vital that the translator is proficient in the Qur'anic language. The Holy Qur'an is extremely eloquent and rhetoric literally, and there exists so beautiful styles and formats within it such as independent pronouns. Given that “independent pronoun” is important in transferring the meaning, the present study seeks to its semantic aspects in Hadad Adel’s and Safarzadeh's translations of the Holy Qur'an. The author first defines “independent pronoun”, and then studies different translations of the Holy Qur'an. Next, the proposed translations are recited. In the process of studying and criticizing Hadad Adel’s and Safarzadeh's translations, it became evident that these translations do not follow the same method in translating “independent pronouns”; for example, the pronouns in similar situation are translated differently, and sometimes the translators apply translation. Also some translations do not represent “independent pronoun”, and it has not been translated in some cases. Finally, the frequency of equivalents of “independent pronouns” in translations has been presented comparatively in a graph.  

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Literary works are good sites for cultural energies; to live, negotiate, and challenge the dominant discourse and each other, sometimes this presence is reproduced and sometimes, if is challenged. P. Machery’s “The Unconscious of the Text” and A. Sinfield’s theory of Faultliness show that how literary works trouble the dominant discourse.Some women – in Shakespeare’s tragedies- revolt against the dominant discourse of Elizabethan patriarchal ideology; they question its basic assumptions and its very ideology. On the other hand, S. “Greenblatt in Circulation of Social Energies” states that the dominant social energies or discourses are continually reproduced in the literary works. In Safarbeygi’s poetry – although the socio-political ground-works have been changed in the favour of women rights – the patriarchal ideology is reproduced in a circular movement; men have constructed that ideology centyries ago, then it came into their collective unconsciousness, and finally, via the help of literary works, it entered the society again  

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Garden city idea as an important idea had emerged on 19 century. Creating sustainable complexes and having more relationship with natural environment were the main goals which had been defined for this idea. This idea was established in urbanism literature by Howards' research about creating a balance between city and village living; whereas in east, Garden City as a pure idea has had a metaphysic meaning which is used to create earthy paradise since 16th century. Respect and reverence for water and trees is institutionalized in ancient civilizations of Iran. Iranian people respect trees and water, both separately and in composite forms as gardens, which have been a well-known cultural value both before and after Islam. The oldest Persian garden that have been discovered dates back to the Achaemenid Empire and the quadripartite gardens (charbagh) of Pasargadae. By studying about existent historic gardens, Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. In Persian Garden category, Garden City has been defined as a well-known model for designing particular gardens in city scale. According to this model, gardens have used sacred and soft spaces as a combination of hard and heavenly, for defining body structure and the development of the city textures. In advanced (pre- designed) samples, the entire city has been formed as a big garden; composed of a set of small gardens with many symbolic features, such as pavilions and water ponds, as seen in the Persian Charbagh Garden. During Safavid dynasty, Isfahan, as the largest Persian garden city, had been supported by a green major axis; which is the so called Charbagh that has been remained as a green heritage so far. Gardens and trees were the most important natural and architectural elements in Isfahan's cityscape at that period. These elements usually have been considered as the traditional identity of the garden city; hence their sustainability had a key role in preserving the structures. Therefore, Designers manufactured particular urban infrastructures to provide useful irrigation system. They had to construct the channels that branched off from the central river of Isfahan (Zayandehrood) and made the water accessible all around the city. First section of this paper is about Safavid Garden City origin. This subject was studied from the politics and governance points of views. In the following, Howard's Garden City origin has been studied. It has formed according to the special Utopias, which had relationships with that time's believes. In addition, some principles of Safavid Garden City have been compared to Howard's. The special study has been done about Intellectual origins which have influenced these Garden Cities creation. In conclusion, the comparison of Howard and Safavid Garden Cities shows that these ideas had been developed based on the worldview and vision of creative Iranians during Safavid dynasty and in 19th century. Moreover, the special methods of plantation, the quality of social relationships and economic similarities were the main differences between these two Garden Cities.

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The exact date of coffee into Iranian territory is not known, but what has come to us from literature, show the reign of Shah Abbas Safavid and especially, in coffee houses in big cities in Iran like Isfahan flourished. The coffee houses of Safavid has cultural practice that most public places and especially the artists and poets. Because the Safavid poets of the era, such as the Board did not know about the art of poetry, the place was not in court and the other party's growing middle class in this day and age class gathered in coffee houses, poetry and literature to suit Since literature and society are constantly being traded bilaterally with elements in coffee houses in poetry and art of the period of manifestation of this age is certain. Coffee, opium and opiates are the most important elements that have been visualized in the poetry of this age. The method is a cross-sectional study and tool researched biography of the Safavid court and some of the poets of this era.

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Aims: Mosques are one of the essential elements of Iranian and Islamic cities that interact with the urban environment. The entrance is the first space in the mosque that the audience encounters. According to the spiritual concepts, this space provides the audience with the necessary preparation to enter the hierarchy. Light hierarchy is one of the hierarchical factors that effectively understand space and evoke emotions. Light is a supernatural element that can change a person's feelings in space. Therefore, the present study quantitatively compares and contrasts lighting components in the entrance space of four-aisled mosques.
Methods: In the theoretical section, the research variables have been explained by studying scientific sources. Then, by simulating mosques, the light indicators at the entrance of mosques in the Climate Studio plugin are analyzed.
Findings: Considering the results of simulation data analysis, the relationship between the entrance and the inner courtyard of the mosque, entrance decorations, materials, and lattice opening are factors determining the light hierarchy in mosque entrance spaces.
Conclusion: The two parts of separation from the urban space and connection to the courtyard space have the highest light intensity and the changes in light intensity along the route are according to the location of the mosque and the characteristics of the human eye.

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Abstract: A comparative study of the application of symbol in Safavi and Iranian contemporary architecture The human kind was always accompanied by some tendency to use symbols, signs and codes. We’ve seen the most ancient of them in works of the primary human which are mostly in the form of graffiti due to technical reasons and in modern society there are few foundations which can be found with no trace of symbols and signs, since symbols and signs don’t require any other foundation than innovative mind of their creator. However, signs, as a kind of communication, need a dynamic society which is the other side of this communication, to communicate. The amount of applying these symbols and signs in different places and their vastness and variety are of the instances which always increase complication of discovering their true meaning. This mistaken recognition was always the challenge to this communication. In response to two questions of _ what are signs and symbols and where is the place for applying them in architecture? And what is the difference between using symbols and signs in Safavi and contemporary periods? _ this essay attempts to do a comparative study on the works of these two architectural periods of Iran by pointing out kinds of signs and presenting a classification of places in works of architecture where symbols and signs were applied. Therefore, a discussion about different kinds of signs, where they are applied in architecture and a case study were embarked on by using a combination of different studying methods of interpretive-historical and logical reasoning. In the end we study the differences and similarities and application process of symbols and signs in area of architecture. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * *

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Aims: The purpose of this article is to address the issue of Qazvin Space Organization in the Safavid period with the approach of cultural studies.
Methods: The present study has been carried out with the approach of cultural studies and exploratory-documentary method, with the aim of describing and interpreting the historical data of Qazvin city in the Safavid period and its analysis. In this regard, first-hand sources, documents were collected, studied and analyzed. In parallel with the library studies, field surveys were conducted and the signs were surveyed and studied.
Findings: In the present study, three views result from the approach of cultural studies, namely: 1- Regulation of the city- 2- Homogeneity and heterogeneity of neighborhoods and 3- Use of urban spaces and their rational concepts in the analysis of Qazvin spatial organization used during the Safavid capital it placed. The result of the research indicates that the structural changes of Qazvin city in the Safavid period in accordance with the newly created culture and is closely related to a set of several factors, including the "space" dimension which is a subset. It regulates the city, it plays a more prominent role, and because it is expressed through the body and by the designers, it is more tangible, and the other dimensions are related to it.
Conclusion: The "space" originated from the power of the government at that time in the city of Qazvin and the royal complex was not just an urban design but a tool to achieve political, economic and religious goals and the city's culture is based on the same structure. Has appeared.

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The relationship between the clergy as amajor social force and the Safavid state canlead our simple understandingto the exact understanding that may answer many of our questions in the social history of Iran. This paper considers the relations between the government and the clergy bystudying the fall and the rise of theclerics and the government relations, forms of their participation in policy, its development in the Safavid era and factors affecting on this evolution. This relationship can be investigated using the Tily’s theory and it can be saidthat this relationship takes many forms. Three overall types include membership in theoverall system of monarchy, influencing policy and resignation. Thismethodology is based on descriptive historical narrative approach.  

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During the Safavid era, communications between Iran and India became deeper than before due to the common official language. Persian romantic stories were among the written works during this period in the countries. The question is: "Are Persian romantic stories in the Safavid era in Iran and India fully similar due to the concurrency, common language and existence of similar structures, or have distinction due to different cultural environment?" Some Researches has been done on the storytelling of the Safavid period, But so far, there has been no works published on the influence of intellectual motifs on the Iranian and Indian Persian stories in any of the topics.
In this paper, it has been attempted to answer the question, by analyzing the content of the Stories. Of course, the assumption of this research is that there are many similarities in language, structure, sequences and character's functions in the Persian romantic stories in Iran and India, but despite these similarities, there is a different worldview and attitude towards the characters and events. These differences include: "Death of the lovers at the end of the story", "Girl's freedom in choosing a spouse", "supernatural creatures’ role", “presence of Mysticism and Sufism, "animals’ impact in the story ", "presence of Indian characters" and "independence of the source" that would help to understand the stories written in India from Iranian stories.

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The reason of existence of any country is a very sensitive and revived concept in the political geography. In spite of a grave theoretical background of this subject which most probably has been started from F. Ratzel, this concept, as far as the case studies are concern, is very weak and unreliable. In order to enrich this concept in having sufficient case studies, in this research the basic root of the creation and national survival of Iran government – country is investigated. The foundation of this library research project is to respond to the following questions. What have been the origin and essential reasons for the existence of new Iran government after five centuries and especially what is the raison for its continuity despite the different threats. .

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Will you not then think? (Al-A›raf/ 169), Almighty God has invited the man to think and reason out anywhere of Qur›an. Intellect and reasoning are concepts that always have been reflected purposively, by philosophers and thinkers, in a different world view and to fit within the definition of man and his distinction from other creatures (animals). For in Shi›ism as a result of the impact of these substantive issues, it became distinguishing school from other schools of thought.» Shia Intellectual Thought» is as a distinctive element of other Islamic thought, affects Shia philosophers, result the definitions of intellectual worlds, and has been manifested in the physical or tangible world. In the meantime, manifests and arts of man-made due to manifesting glories of intellectual world in the world of the senses, the downward trend (trend from God), as well as preparing the ground for development of the human soul in the arc of ascent (trend to God) was considered by many thinkers. So the study, assuming that the art of landscape architecture of the Safavid period, with an emphasis on Shi›ism and thought of philosophers such as MullaSadra as Shiite thinkers could qualify as lasting in the minds of Iranian- Islamic national identity, survey the idea that the rational is this thought. This article attempts to answer this question that components and dimensions of the field of rational thinking and the how Safavid Shi›a architecture are reflected in landscape architecture? This article by considering the implications of appearance and reality, truth and the world of justice, magnitude and geometry as influential concepts in Islamic thought and Shia, is trying to find the relationship between these concepts in landscape architecture of the Safavid period. As the studies show that the Islamic world view has considered for anything outward and inner meaning, as know the birthplace of this world and introduce their meaning in the worlds of meaning and understanding of the essence of the person, even though at the levels of perception. If, as in all affairs are the internal and external traits, man also has the rational soul, not isolated and has both of these attributes. It can be concluded that the effect of landscape architecture and generally any man-made will stay good and durability that is capable of understanding it for appearance and reality. It looks trend or pass from appearance to reality of the body of architecture; means that the matter at the possession of architect became a material distances of its physical mode and closes up to its inner mode. Therefore, the requisite of this trend in the face of material is that to make their essential physical aspects hidden and this could be done by smoothing the levels, generally transparent and delicate, ”removing featuring physical adjectives». Artist man by using the capabilities and capacities of its existence (appearance) and also by resorting to inside can after ascending trend in the world receive intellectual intuition, with the creation of the signs of the world’s top witness in the world (by art and architecture here), be the underlying growth of origin, intellectual and other creatures is to receive the vision. And in these ways need to be able to exhibit these meanings in it. Of the other reviewed concepts in this article can be referred to the concept of justice; Islamic philosophers, hold noumenal true for justice, so that the stability of the world as it is and whatever it outside is doomed to fall and straying and it mediates communication with the realm of the sensible world knows and expresses the position of each object in its place. Islamic thinkers have been written books and numerous articles on this subject and many fields have expressed to justice but here it is enough to pay attention to only the meanings of justice and equity that the purpose of the article and indicate its relationship to the words, and its relation to the brains. With regard to the characteristics and meanings of the word of righteousness and justice, we can fit the words, the balance (for stability), survival, intermediate between the sensible and intelligible world in a set. On the other hand some of these words could have physical meanings, in space design and landscape architecture influence as a result of the intelligible world and the world of the senses are the belts and this is exactly (= proportion, balance and fit everything in its place) is what itcan be used as one of the physical dimensions of rational named one hand, the importance of the sense in Shi›ism (If you are a member of the Shiite religious principles) is next marker of Shiite rational thinking. Designing landscape architecture by worldview of Islamic thinkers and philosophers of Islam, to become inner meanings and the meanings supernatural world of the senses, and to reach outward to the inward journey and vice versa and also a manifestation of the concept of justice requires a tool by which a body of material life, and the divine spirit in which brightens up this way, architecture is a platform for the emergence of rational universe works, and flowering of reason and intellection of its audience, to feed in much higher existence. Organize the space through architecture and landscape architecture, with the aim of reason (and connect with the divine) requires a quality space that is associated. In this regard, according to the divine attribute such a geometry that semantic connection between the sensible and intelligible world is established, the words of the Quran and hadith assistance is intended, and the word ”Magnitude» according to the research conducted and appropriate interpretations of this theme. If more researchers, the geometry of Islamic science in the Quran is so closely linked to the concept and it recreated some sort of divine destiny and determine architectural and geometric forms of art introduced. The relationship between the magnitude and the world, for example, that the importance of the traditions of Islamic art on the principles verify. And in a sense, geometry noted the creation of permanent freezing of the sensible world to the world of the intellectual world that exists and is a language of reason. According to pave the presence of Shi›ism in the Safavid period, causing physical manifestation we see these concepts in landscape architecture, which have a rich concepts, as well as the potential impact of philosophical views during this period, have managed, lasting element in strengthening and lead to enhancing the rational perceptions . This paper tries to rely on the Qur›an, the traditions and ideas of Mulla Sadra, examined landscape architecture of Shiite Safavid of Isfahan within the realm of thinking, reasoning and criteria and physical manifestations of it under rational human perception. This research by using library studies, delving into the philosophical and religious studies, seeking to provide interpretation based on rational thinking in terms of Shia Safavid period. Findings show that the Iranian landscape architecture, especially Iran garden, which has well-known and long-lasting historical background, is a pattern for different centuries; during this period, by using the concepts emerging from this thinking, to concepts like world of justice and much greater.

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Naser Nikoobakht, Ph.D.
Saeed Bozorg Bigdeli, Ph.D.
Hossein Ali Qobadi, Ph.D.
Soghra Salmani Nejad Mehr-Abadi
 
Abstract
Archetypes are the unknown and complicated dimensions of the collective unconsciousness which have accompanied mankind since his birth; in a manner which makes it seem hereditary. The archetypal images are concealed in the unconscious part of the mind; and are actually the source and substructure of myths. They have a strict and close connection with symbols and are revealed in dreams, poetical and prophetical intuitions and revelations, and even observed in psychosis. Artists and poets create their work by using these concepts in specific mental circumstances, which is to some extent similar to intuition; intermingled with the power of imagination. In this respect, the artist and poet disguise these concepts unconsciously; depending on their own artistic talent and divine potential. Poetry is one of the most expansive domains for the manifestation of such archetypes. In the present article, the authors have made an attempt to briefly survey and analyze the method through which some of these archetypes have been applied and become functional in the poetry of the late Tahereh Safarzadeh; a highly skilled poet. The archetypes which enjoy more frequency in Safarzadeh’s poetry are; water, tree, woman, Mandala, numbers and colors etc. This article has specifically focused on two archetypes of tree and water.
 

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The public sphere is place for discussion and criticism of powers that Habermas, for first times has introduced theoretically and connected its history the to European saloons and coffee houses.  This notion that the formation of the public sphere is special to the West does not look quite right because there was the same experience in the Safavid period. However the main point is that the continuation of the trend in the West and Iran is varied historically, politically and socially. This historical and descriptive-analytical study would attempt to prove that the West's public sphere or criticism of power started in the royal court and then spread to the community, but in contrast to the West, criticism of power and dialogue on general issues in Iran Were especially formed in coffee houses and later transferred to the royal court. Coinciding with the Safavid rule power, the religion (Shiism) could be the official state religion and spread in different ways, such as by Shi'ite ceremonies and rituals as a form of public discussion and criticism. Thus the public sphere from Safavid Iran to the Pahlavi had religious and public from which found a political and religious public from since 1960s.

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Set in the realm of politics and religion in the Safavid period’s approaches, The Sadat have a significant presence in this era. This presence can be followed in specific and non-specific postions.in this context, Kalantar in the Safavid research was included as non-specific postions. Studies show that the presence of Sadat in this post ion is more comprehensive than in other non-specific jobs. This phenomenon has been observed even when inheritance was considered. This study is an attempt to provide statistical analysis and causal explanations to check the significant presence of Sadat in Kalantar position, so, extraction of the names of all Kalantar Sadat has been taken into account.  The results show that Kalantar position with intermediate overlay (government-people) had a direct relationship with Siadat that contained social status and state function. So both Safavids and the then society in the equal opportunity used to choose Sadat for this job. This study further reveals in this phenomenon, inheritance is considerd. 

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One of the texts that has played an important role in the conception of Maroufi’s Symphony of the Dead (1989) is Ardabil dar Gozargah-e Tarikh[1] by Baba Safari (1920-2003). The two texts are so much interwoven that at times it becomes impossible to distinguish Safari’s voice from Maroufi’s. Although Marouf’s novel is not a historical one, it depicts the events occurring in Ardabil between 1934 and 1976.  At first look, Ardabil seems to be whatconnects the two works. But beyond this, Maroufi not only reconstructs some of the historical events narrated in this book, but also creates some of his fictional characters borrowing from the descriptions of the historical figures that Safari has brought into life in his book. This article studies the influence of Safari’s historical work on Maroufi’s novel.  
[1]. Ardabil in the Passageway of History

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analysis of Korosh Safavi's researches about Indian style

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The concept of power and its relation with ideology is one of the basic components of critical discourse analysis. In this article, the power position of one of Shah Abbas Safavi's chivalrous, named Hosein Kord Shabestari, is analyzed according to sthe face-threatening and face-saving acts against Shah Abbas's enemies. In the face-threatening act, Hosein Kord puts himself in the power position fearlessly and the audience in accepting the power position in different ways of expressions. In the face-saving act, there is a high frequency of face-saving acts for Hosein Kord and it sometimes belongs to Shah Abbas at a lower level. So far as these two acts are concerned, it is found that a chivalrous named Hosein Kord is in a high place, sometimes even higher than the Shah Abbas's place. This is why he uses face-threatening acts against Shah Abbas. The aim of this study is to show the position of Shah Abbas's chivalrous especially Hosein Kord so far as ideology is concerned.
 

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The poems of fortuity are a collection of works written in the Safavid-Qajar period based on the algebraic thinking in the form of a story. Most of these poems are in the form of manuscript and they are more than 20. In this article, four prints and 11 manuscripts of these poems have been studied considering the elements of popular culture and literature. Although the poems of fortuity are written in the form of formal literature with a focus on the theological and philosophical themes, their linguistic and content characteristics prove that the main source of inspiration for these texts is the folk cultures and literature. The superficial approach to the fortuity that challenges the subject, being free  of the  complex philosophical reasoning and  the promotion of fatalism thinking in these poems,  the manifestation of popular culture and literature such as simple language and expression, the slang tone of these works, realization of superstition such as the belief in fortune, describing some popular traditions, reflecting some popular behavior, and describing personalities and places in the  popular life are some indications of fortuity poem  being  influenced by folk  literature. In terms of story structure, fortuity is also perfectly consistent with the structure of folk tales. Weaknesses in plot and verisimilitude, centrality of the events, static and dynamic characters, vague time and place and the omniscient narrative are some features that link these poems to the folk literature