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The principle of good faith is one of the most recognized principles of law of contract within the international law. Therefore, the principle of good faith has strongly influenced the national laws as well. Nowadays, good faith as a legal term covers two meanings, which are independent from each other. The first meaning is, the “mistaken imagination” (or the “honesty of purpose”). It is the subjective perspective or imagination of a person about the appearance of something. It applies on legal questions related to property, marriage and securities. Secondly, the principle of good faith has the meaning of fidelity. For example, Art. 1134 Clause 3 of the French Civil Code stipulates the performance of contracts by applying the principle of good faith.

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Besides beautiful description of affective emotions and love, Vis and Rāmin love story by Fakhruddin As'ad Gurgani includes religious beliefs of pre and post Islamic era. Through the challenge of ardent love of two main protagonists of the story, we encounter some crucial points on importance and necessity of oath and abstinence from its denial. This issue led the writer to analyze this theory of ancient Iran and even the main pillar of Islamic judgments (the oath of the parties and witnesses that their speeches were correct), besides how and why it was used in this poem as a fundamental element, as well as the importance of paying attention and engagement to it. Probably, the key element in the genesis of this love story is the oath of Shahru , the mother of Vis vis –à-vis Monikan priest

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The present paper is an attempt to reveal the typical difficulties to which are confronted translators of every sacred text. So, the authors of this research paper try to precise the meaning-form relations which arise from a corpus of the eighteen final surahs of the holy Quran. For this purpose, two translations of the holy book (those of Jacques Berque and Hamidullah), the most attested and credible, have been chosen and studied in this research to determine the tendencies which deform the source text while translating and which leads to different outputs. By this way, the present work will show the impact of the moderation to find out the right way between the fidelity to the form and the loyalty to the meaning.
 

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The present research explores the reasons why contemporary theoreticians of adaptation studies spurn “fidelity criticism.” With an increase in the production of adaptation with the advent of the cinema, there appeared a critical approach known as “fidelity criticism” in which the extent of the fidelity of the adapter to the adapted was investigated. Since this approach considers the adapted as a touchstone to evaluate the adapter and since it implicitly acknowledges the superiority of the former over the latter, postmodern critics, who frequently advocate alternative views and readings, struggle to release the adapter from being overshadowed by the adapted in order to let them express their unique message in the modern era. By referring to contemporary theories, the present research explores the whyness of the necessity for avoiding “fidelity criticism” as a touchstone for the evaluation of adaptation. To this end, the question of adaptation is expounded in the light of canon, logocentrism, and minor literature in order to study the likelihood of the ideological working of “fidelity criticism” as an apparatus in the hands of power. While the fact that “fidelity criticism” cannot be an appropriate criterion for the evaluation of adaptation has been frequently pointed out, the howness of its contribution to power discourse is an issue that has not been investigated in a coherent research, an attempt that can lead to a better understanding of the whyness of the rejection of “fidelity criticism.”