Erfaniyat Dar Adab Farsi

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In the second stage of her poetry, Forugh Farrohkzad has used figures of speech to lead language to its literary state. Among her influential literary techniques in poetry, symbolism is prominent. In her poems many words are used as symbols in various positions. They convey different meanings. One of the most attractive symbols of Forugh’s poems is water, and in this paper we will deal with it. 

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Surrealism is an artistic movement that began in early twentieth century in France. The surrealists were considered the way of salvation in illumination that makes the human to leave the facts of his real life and reach the over real and surrealistic world. They were believed to unconscious ego and used some ways to write, such as automatic writing, hallucinations, psychosis and a dream, to express and record their Unconscious Ego contents.

Most of surrealistic principles can also be found in Eastern mysticism, and the main surrealistic infrastructures have major and close similarities and relationships with Iranian mysticism, including: auto-writing or improvisation, that is very similar to Shathiat (paradoxes) of mystics; combination of enthusiasm and facetiae; relying on intuition; preferring love on intellect recourse to the force of dream; importance of madness and so on. Most of these cases can be found in the writings of one of the greatest mystics and poets of this land, i.e. Rumi.

The purpose of this study is to find surrealistic principles in Masnavi and reviewing the surrealistic view of Rumi.

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Abu Saeid Aboalkhair is a mystic of Khorasan School that Theories and  thoughts in of This school are close to Eastern thoughts. Sepehri is one of the famous contemporary poets that many has been said about his poems, especially about his mystical thoughts. There are several views about his poems sush as:Iranian Islamic mystical principles, Hindi and Eastern mystical principles, or without any Mysticism.

Selecting mystical terms and concepts in Sepehri’s poems is a suitable way to analyse his mysticism. In order to lighten the nature and quality of his Mysticism, we have selected term of Fana among so mony mystical terms and concepts in his poemsWe have to express and compare them with also tried Abo saeid  Abolkheir terms, one of the greatest of muslim mystics. 

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Determinism and Freewill” along with such subjects like: Imamate, wellness and badness, good and evil, simile and transcendent and knowledge of God, is one of the high frequency concepts in theology, philosophy and Islamic mysticism that were assigned comprehensive research. So, this problematic subject is one of the oldest and the most disputable topics that direct theologians, philosophers and great Islamic mystics‟ attention to it over the ages.
So, for significance and the extent of “determinism and freewill” and also unknown dimensions of it, the authors try to study „Eyn al-Ghozzat‟s viewpoint - one of the great Islamic mystics of Khosravani‟s school- about “determinism and freewill” from two dimensions: love and theological-philosophical, in mystical Farsi prose texts. Also figures on to answer this question that in his viewpoint, if the man is in the core of determinism or in the domain of freewill?
Outcome of this research shows that „Eyn al-Ghozzat in love believes to absolute amorous- mystical determinism, and in mystical-philosophical viewpoint believes to all three subjects: determinism, freewill and “Amron Bein al-Amrain” (mediocrity, so- so). Hence, his viewpoint is closer to the theory of Mu'tazeleh than Asha'areh.

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Abstract
The debate of men’s superiority over women and ignoring the grearness  of  the creation of the women is not a new one. Most viewpoints on this mater agree that men are superior over women.What  is more conspicuous in all these views is the particulastic view of some interperters to some verses of Quran.
The 34^th verse of the Nisa chapter of Quran is the  central point of the debates on this matter. Some of these interperters have mentioned the limitless priority and superiority of men over women.But in Islamic view man and woman have been created from one  origion and the women are  considered  as half of  body of the human beings and  a  complementary to men. We can not determin a criteria for superiority of people who have been divided from one essence over each other excpt virtue and piety . The aim of this research was to  present an analytic- comparative look to the view of the superiority of men over women from the  mystics view to end this discrimination based on the religious bases and to prove the woman position as a human being

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 Abstract:
In the stylistic analysis, the style of the ghazals of the 8th century Hijri poets is called the style of combining love and mysticism. A new close study of this concept in mystical sonnets reveal to us that first of all, for the romantic-mystical title that has been applied to this style, we can list several examples, each of which has distinctive features that characterize a separate category of mystical works, and secondly, the scope of inclusion of combination style in Persian poetry, whose signs can be recovered from the first steps in mystical poems, is related to what is discussed in stylistic analysis, (that is, in the poems of the 8th century (a. h.)) are much wider. Although we are faced with a type of mystical lyric writing and its continuation in the 8th century, the multiple interpretations that can be had of the romantic-mystical style show the continuous and expanding process of the fusion of the main elements of the content of Persian sonnets such as love, mysticism and Qalandriya-writing. In this article, the continuous process of this integration in the ghazal compositions of Sahib-style poets until the end of the 8^th century (a. h.) has been carefully examined. And about the position of each of the lyric poets in this style, it has been studied and found that due to reasons such as the unbreakable connection of the theoretical topics of love and mysticism, the existence of signs of romantic and mystical fusion themes from the beginning of writing lyric poetry of Persian mysticism in the 6th century has been unavoidable. Therefore, limiting this stylistic discussion to the analysis of content of just one form of Persian poetry, as well as the different interpretations that can be had of the term "romantic-mystical", one cannot come up with an independent style in lyric poetry.