https://www.jmzf.ir/ Motaleat-e-zaban-e-farsi en daily 1 Wed, 13 Aug 2025 00:00:00 +0330 Wed, 13 Aug 2025 00:00:00 +0330 https://www.jmzf.ir/article_227270.html حضور شمس در زندگی مولانا و ایجاد انقلاب درونی در وی، حسدورزی مریدان را در پی داشت تا آنجا که آتش حسد دامان شمس را می‌گیرد و او را گریزان می‌کند. رفتن شمس، آتشی در دل مولانا برمی‌افروزد. اینجاست که حسام‌الدین چلبی با شعله‌های فراق مولانا چراغ مثنوی را برمی‌افروزد و مولانا را به سرودن کتابی تشویق می‌کند. وی مشاور مولانا در سرایش مثنوی می‌شود. جایگاه حسام‌الدین نزد مولانا به همترازی شمس می‌رسد اما مولانا با توجه به تجربة تلخ حسدورزی یاران، مهرش به حسام‌الدین را در لفافه‌ای از تشبیه‌ها و استعاره‌ها بیان می‌دارد تا فقط او بداند و حسام‌الدین. این پژوهش با روش کتابخانهای با بررسی اشاره‌های پنهان مولوی در دفتر اول و دوم مثنوی به حسام‌الدین، درمی‌یابد که مولانا در چهاردهجا، پنهانی به ستایش حسام‌الدین پرداخته و او را انسانی کامل معرفی و این امر را در مثلثی از معانی بیان میکند. هرگاه مولانا از لزوم پیروی از پیر طریقت سخن می‌گوید و با واژه‌ای چون یار او را می‌ستاید و سپس به نکوهش حسدورزی می‌پردازد، منظور او از یار حسام‌الدین چلبی است. به عبارت دیگر وقتی یک ضلع مثلث معنایی پرداختن به پیر طریقت است و ضلع دوم پرهیز دادن از حسد، ضلع سوم آن، حسام‌الدین است. مولانا همچنین ریشة حسدورزی یارانش را وهم همتایی شاگردانش با حسام‌الدین بیان می‌کند و ضمن دعوت آنها به پذیرش جایگاه معنوی حسام‌الدین زمینه را برای جانشینی حسام‌الدین بعد از خود آماده می‌کند تا راهدانی او را پس از مرگش بپذیرند و مکتبش را با طوفان حسد به باد فراموشی نسپارند. https://www.jmzf.ir/article_211897.html 1. Introduction A significant part of the body of literature of any nation is formed by children’s literature. Today, considering the role children play in the formation of societies, the importance of children’s literature has become increasingly prominent. It can be said that children’s literature is one of the most important tools in the education and upbringing of children and adolescents. A child needs to learn scientific and social concepts required in everyday life. Since human personality is shaped during childhood, this period holds particular importance (Riahi, 2015: 67). One of the important domains of children’s literature is defined through storytelling and narrative writing. A fable is a story containing an imaginary account or event from the lives of humans, animals, birds, or mythical creatures such as demons, fairies, giants, and dragons, accompanied by mysteries and sometimes moral and educational purposes, and it is often written for the purpose of entertaining readers. The distinguishing feature of fables is their strong and exaggerated imagination. Fables have various types: allegorical, fairy tales, romantic, and heroic (Zolfaghari & Bagheri, 2015: 7). The story “The Uninvited Guest” is one of the most prominent works of Iranian children’s literature, which has not only received remarkable attention in the country but has also crossed borders and significantly influenced the creation of children’s literary works beyond them. Positive psychology, as a modern approach in recent decades, with its focus on strengths, virtues, a hopeful outlook on life, and the cultivation of positive emotions, has gained a special place in psychological and literary studies. Martin Seligman’s theories, particularly the PERMA model (Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment), provide a valid framework for analyzing constructs related to well-being and human flourishing. Examining such components in literary texts, especially narrative works, makes it possible to uncover the hidden capacities of literature in promoting mental health. The story “The Uninvited Guest,” as a literary work with valuable human themes, has the potential to be analyzed from the perspective of positive psychology. Analyzing this work based on Seligman’s viewpoint can demonstrate how literature can contribute to strengthening hope, resilience, meaning-making, and constructive relationships. Moreover, in current conditions where society is faced with emotional challenges, tensions, and widespread psychological pressures, attention to the role of literature in enhancing psychological well-being becomes increasingly necessary. Furthermore, many studies conducted in the field of positive psychology have primarily focused on psychological interventions or experimental research, and less attention has been paid to the capacities of Persian literature in reflecting positive-oriented concepts. Therefore, this study can, to some extent, fill the existing research gap and create a bridge between literary studies and positive psychology. 2. Methodology This research is qualitative in nature and is conducted using a descriptive-analytical approach. In this type of research, instead of collecting quantitative data, the researcher analyzes concepts, themes, and semantic structures within the literary text. The main objective is to identify and explain the components of positive psychology based on the theoretical framework of Martin Seligman. The data are collected through library research and based on written sources. In qualitative research, there are no instruments in the sense of quantitative measurement tools. The main tools of the research include note-taking, conceptual coding, qualitative content analysis, and Seligman’s theoretical framework. This framework provides a clear classification of positive psychology components and serves as the basis for data extraction. 3. Discussion Based on Martin Seligman’s perspective, it can be argued that individuals, by utilizing the power of wisdom and awareness, can experience a life filled with peace and security. Curiosity, passion and interest, a strong desire to learn, creativity, judgment based on justice, flexibility, and possessing a broad outlook are among the characteristics of wisdom (cf. Seligman, 2000: 205). One of the features of wise individuals is their possession of insight. Insightful individuals, when faced with a problem, consider it both from a rational perspective and in terms of its emotional dimension. According to Schultz, reliance solely on the faculty of reason does not lead us to our destination; rather, the emotional aspect of issues is also significant. Emotion creates in us the confidence needed to achieve effective insight. Individuals who enjoy mental health make decisions between the two forces of reason and emotion and trust them (Schultz, 1998: 128). The second virtue, from Martin Seligman’s viewpoint, is courage and the possession of a humanistic boldness. Bravery and valor, seriousness in work and perseverance, honesty and sincerity (cf. Bernard, 2008: 112) are the most important subcomponents of the virtue of courage which, when realized, can place individuals on the path of well-being and bring them happiness, vitality, and life satisfaction. In the story The Uninvited Guest, traces of courage can be observed in the behaviors and dialogues of the characters, and it can be acknowledged that our folklore literature has long moved in alignment with positive psychology, seeking to improve individuals’ living conditions. Martin Seligman and his colleagues introduce the virtue of humanity and love, along with several subcomponents, as positive virtues which, when strengthened, can guide human life toward improvement and bring vitality and happiness to societies. Kindness and generosity, loving one another, affection, helping others, support, and other traits that inherently involve empathy and assistance fall under the category of the virtue of humanity. The fourth virtue, from Seligman’s perspective, is justice, encompassing fairness and equality. Justice includes characteristics such as citizenship, equality, and competent leadership (Pirani, 2013: 341). In the character of the old woman in the story, a form of justice-seeking tendency is evident. She is committed to equality and fairness. The most important indication of her fairness and justice is reflected in her manner of treating the animals. The animals differ greatly in terms of power, size, and status; however, the old woman treats each of them with fairness and equality. She seats all the guests at the same level. When they sleep at night, they all benefit from the same facilities. When they decide to leave her house, they all receive the same kind of treatment from her. The attention she gives them is equal and uniform. She is never able to choose one among the animals to stay. Her inner sense of justice and fairness leads her, at the end of the story, to ask all the animals to remain in her house. Even her look toward the guests is kind and equal: “The old woman cast her kind look upon each of the guests and said: ‘Now that you wish to stay with me, you must all work together and build a room for yourselves so that we can all live comfortably’” (Farjam, 1984: 22). The virtue of temperance refers to those actions and behaviors that are under the individual’s control. Those who follow a particular order in life and are self-restrained are, in fact, moderate individuals. Such people possess foresight. Humility is also one of the important traits of the moderate (Pirani, 2013: 341). The final virtue among Martin Seligman’s six virtues is transcendence. This type of virtue reflects the human connection with a world beyond (Seligman, 2000: 29). In the story The Uninvited Guest, among the aforementioned characteristics, gratitude and thankfulness can be identified as positive virtues. When the old woman rescues the animals from the night rain and shelters them in her home, a sense of gratitude toward her behavior is observed in each of the guests. This sense of gratitude indicates the connection of the characters’ elevated ghost with a higher realm. They have the ability to perceive behaviors imbued with kindness and humanity and are capable of bowing in humility and appreciation in response to kindness and love. The most prominent sign of gratitude appears on the morning after the rainy night. While the old woman is still asleep from exhaustion, all the guests prepare her breakfast as a gesture of appreciation: “The next morning, because the old woman was so tired, she woke up late, but when she opened her eyes, she saw that there was a commotion in her house” (Farjam, 1984: 16). 4. Conclusion The author of the story The Uninvited Guest, in developing the characters of the narrative, has made considerable use of psychological knowledge. In this story, it is clearly demonstrated that Martin Seligman’s six virtues are reflected in the behaviors and actions of the characters and have led to their well-being alongside one another. The old woman, as the main character, is wise and possesses curiosity, as she inquisitively opens the door with every knock to see who is behind it. Creativity is abundantly evident in her behavior, since when a problem arises, she suggests that the guests expand the house in order to stay there. Moreover, in alignment with Seligman’s theory, the old woman possesses insight; that is, she combines emotion with reason. Despite her deep compassion toward the animals, she opposes the idea of all of them living together in a small house. This decision demonstrates the ultimate degree of her insightfulness. Courage, as the second virtue in Seligman’s framework, is clearly present in the old woman’s home. She bravely allows various animals into her house, and the animals, despite their mutual hostility, spend the night together peacefully. Humanity, in the form of kindness, cooperation, and assistance, is manifested in this story. The old woman shows love toward all, and in return, the animals help one another to create a joyful, satisfying, and pleasant atmosphere within the house. The virtue of justice is also clearly evident in the old woman’s behavior. She extends her affection and love equally to all guests. The virtue of temperance is reflected in the old woman’s foresight and in her ability to manage and control the animals’ behavior. In conclusion, it can be stated that a sense of gratitude, as a form of the virtue of transcendence, emerges within each of the guests in the house. This feeling brings about satisfaction and contentment in their lives. They experience a deep sense of gratitude for the old woman’s response to them on that rainy night. https://www.jmzf.ir/article_243787.html 1. Introduction Intertextuality should be regarded as one of the constituent elements of a text; for it pertains to the horizontal relationships among texts and the presence of one text within another. In the perspective of contemporary theories, intertextuality does not consider the text as an independent phenomenon; rather, it views it as being in a continuous connection with other texts. Every literary work takes shape within a network of meaning, belief, and experience, and bears traces of prior and contemporaneous texts. Intertextuality highlights how a text draws upon the capacities of other texts and re-creates them in the construction of new meaning. Given that literature and society are inseparably intertwined, literary works become the products of the thoughts of individuals who are situated within the context of social events and who articulate social issues from their own perspectives. Jalal Al-e Ahmad and Simin Daneshvar are also among those writer couples who turned periods of separation into opportunities for letter writing. The thoughts and concerns of this couple, as expressed in their letters, have been reflected in their fictional works in the form of characters and narrative events. With this crucial point in mind, analyzing the intertextual relationships between the letters and the literary works of Jalal and Simin is a research necessity and can offer a clearer picture of the process through which their literary world took shape. Accordingly, the main question of the present study can be formulated as follows: how have the themes, attitudes, and experiences expressed in the letters of Jalal Al-e Ahmad and Simin Daneshvar been reflected in their literary works, and what role have they played in shaping the narrative elements and their literary worldview? 2. Methodology The present research has been conducted with an intertextual analytic approach and through a comparative study of the source text (the letters) and the target text (the selected literary works). Its aim is to demonstrate that many of the themes articulated in their letters have been re-created, in various forms and configurations, as core narrative elements of the stories — including, among others, plot events, scene construction, character creation and their dialogues, narratorial commentary, and so forth 3. Discussion The literary texts of Simin Daneshvar and Jalal Al-e Ahmad have taken shape within a context in which the cultural and social issues of contemporary Iran have a prominent presence and constitute a significant part of their fictional world. The letters of these two writers likewise reflect these sensitivities at a more immediate and personal level and make it possible to directly observe their social concerns. The comparison of these two domains reflects the claim that many of the cultural and social elements presented in the letters have been re‑created in a more structured and artistic form within their fictional works. On this basis, examining these components can shed clearer light on the mechanisms through which the social perspective of these two writers has been formed. Therefore, an intertextual study of the analyzed components—such as the status of Iranian women, gender equality, criticism of child marriage, encouragement and movement toward perfection, and others—makes it possible to achieve a more precise understanding of how experience is transformed into narrative and how an individual perspective is transformed into a literary worldview. 4. Conclusion In light of the results obtained from the present study, it was determined that the topics and discussions present in the letters have been represented in various ways in the fictional works, examined through the lenses of cultural, social, political, and personal life reflections. Numerous instances of economic, social, cultural, political, and historical concepts present in the fictional works—along with the temporal and spatial settings of the stories, dialogues, scene constructions, characters, and even the titles of certain works and stories—demonstrate the mutual and intertextual correlation between the letters and the works of both writers, and attest to the existence of intertextual and transtextual relationships between them. https://www.jmzf.ir/article_243796.html 1. IntroductionThis study has been conducted with the aim of systematically and in depth examining the manifestation of Qur’anic themes and Islamic mysticism in the poetic language of Hossein Panahi. The article, focusing on the poetry collections “Be Vaght-e Greenwich” (At Greenwich Time), “Aflatoon Kenar-e Bokhari” (Plato by the Heater), “Man va Nazi” (Nazi and I), “Kabous-haye Rusi” (Russian Nightmares), and “Sal-hast ke Mordeh-am” (I Have Been Dead for Years), adopts a descriptive–analytical method within a comparative framework to address the question of how Panahi, drawing upon his background in seminary education and his familiarity with religious and mystical texts, has re-created and integrated these concepts into the fabric of his modern poetry.In this article, we seek, through a profound engagement with Panahi’s poetry, to analyze the manifestation of Qur’anic and mystical themes in his works and to demonstrate how this poet has succeeded, relying on his religious knowledge and mystical insight, in sustaining and revitalizing concepts such as the unity of being, divine love, annihilation and subsistence, and the glorification of all beings within the framework of contemporary Persian poetry, while at the same time endowing them with a renewed expression. Examining this relationship contributes both to a deeper understanding of Panahi’s works and to a clearer comprehension of the connection between contemporary literature and the rich heritage of mysticism and religion in Iran.2. MethodologyThis research employs a descriptive–analytical method within the framework of an intertextual comparative approach, aiming to analyze how Panahi, through the use of innovative expressive techniques (such as ecstatic utterance [shath], paradox, and deconstruction), has established a connection between the Iranian mystical tradition and contemporary poetry, and has revitalized classical concepts in a contemporary, synchronous, and impactful language.3. DiscussionHossein Panahi is one of the multifaceted and influential figures in contemporary Iranian culture and literature. He was born on August 28, 1956 (6 Shahrivar 1335) in the village of Dezhkuh, located in Kohgiluyeh and Boyer-Ahmad Province, and passed away in 2004 in Tehran. Although he is widely recognized in society as an actor and television personality, he holds a distinguished position in the realm of poetry and literature. Panahi spent the early years of his life in a traditional and religious environment, and in 1972 (1351) he began studying religious sciences in Qom. This background led him, from a young age, to become familiar with mystical religious texts and profound Islamic concepts.The findings of the study indicate that Panahi’s poetry is replete with direct and indirect references to the verses of the Holy Qur’an. Among the most significant of these are recurrent references to Surahs al-Baqarah (themes of human vicegerency, charity, and the expansiveness of the Divine Throne), Sad (the divine breath), al-Mulk (the concept of the unseen dominion), al-Asra (the inadequacy of describing divine words), and al-Rahman (the concepts of annihilation and subsistence). Alongside these, fundamental mystical concepts such as the “unity of being” influenced by the thought of Ebn Arabi, “divine love” as the driving force of the cosmos, “annihilation in God” and dissolution in the Divine Essence, “mystical silence,” “compassion toward animals,” and the “journey through the horizons and the self” constitute some of the most central themes of his poetry. Panahi reconstructs these concepts through modern expressive devices, including ecstatic utterance, deconstruction, paradox, and the disruption of ordinary language, thereby establishing a bridge between the Iranian mystical tradition and contemporary poetry.4. ConclusionIn employing mysticism and the Qur’an in his poetry, Panahi has made use of modern techniques, the most prominent of which include ecstatic utterance, deconstruction, and the inversion of traditional concepts—such as transforming the grandeur of worship directed toward God into the grandeur of a form of worship that only God can contain; the use of paradox to illustrate the contradictions inherent in the mystical path, such as a sun that does not suffice for the needs of the spiritual seeker; and the use of innovative and personal symbols, such as a simple grain of sand as a symbol of the Muhammadiye Reality or a mirror as a symbol of the heart.The findings of this study indicate that the hypothesis concerning the fundamental role of Qur’anic and mystical concepts in shaping the poetic world of Hossein Panahi, and in the poetic re-creation of revelatory texts, is consistent with textual evidence and is confirmed to a significant extent. The intertextual analysis of Qur’anic verses and mystical concepts, alongside the examination of Panahi’s expressive and aesthetic techniques, demonstrates that this presence is not merely accidental or emotional, but rather systematic, purposeful, and grounded in complex mechanisms. Therefore, the research process reveals that Panahi’s poetry possesses a structure through which Qur’anic and religious meanings are reinterpreted and redefined in a novel form, in accordance with the existential experience of the contemporary human being. https://www.jmzf.ir/article_243797.html 1. IntroductionFor many years, the Persian language has succeeded in attracting numerous admirers from diverse cultures and regions toward itself. In this regard, Iran and China, by signing the 25-year comprehensive strategic cooperation agreement in 2021, paved the way for the strategic expansion of bilateral cooperation; while policymakers and authorities in this field are confronted with fundamental challenges in the development of the Persian language and its instruction to non-Persian speakers in China. Among these challenges are the lack of standardized educational resources, the limited scope of inter-university cooperation pathways, the weakness of practical opportunities for students, and the absence of coherent planning for the training of specialized instructors. Given this, the aim of the present study is to examine educational experiences, Persian language teaching resources, and related aspects in Chinese universities in order to identify and analyze the principal challenges and obstacles in teaching this language, and, based on this understanding, to propose a set of practical and implementable solutions to improve the educational process. This study attempts, through the examination of educational documents, university reports, and field experiences, to provide a comprehensive answer to the fundamental research question—namely, what challenges and deficiencies Persian language education in Chinese universities faces, and what solutions can enhance its quality and effectiveness.2. MethodologyThe present study employs a descriptive–analytical method with an applied approach. In identifying challenges and proposing practical solutions for improving Persian language education in Chinese universities, data were collected through tools including educational documents, university reports, and the researcher’s field experiences, from which strengths and weaknesses were extracted. The procedure consisted of four fundamental steps: first, reviewing the history of Persian language education in China; second, identifying existing challenges and obstacles; third, analyzing the data; and fourth, presenting solutions. The study sought, through a systematic and analytical approach, to provide a comprehensive picture of the state of Persian language education in China and to clarify pathways for its optimization.3. DiscussionWith the continuous increase in the number of students majoring in Persian language studies in Chinese universities, scholarly discussions and research collaborations between Iranian and Chinese researchers on Persian language education have correspondingly expanded. Nevertheless, the number of existing studies remains limited, and macro-level investigations are relatively scarce, while recent works are also few in number. Under current conditions and in light of developments in the contemporary era, Persian language education in China is—and will continue to be—faced with an expansion in thematic scope and diversification of methodologies. In this article, through text analysis methods based on examining the developmental trajectory of Persian language programs in Chinese universities and the current status of talent cultivation in this field, the existing challenges and obstacles in Persian language education in China are analyzed, and practical solutions for improving this process are proposed.4. ConclusionIn recent years, with the expansion of strategic cooperation between Iran and China, the status of the Persian language within China’s foreign language education system has gained greater significance. Although Chinese universities have achieved notable accomplishments, the lack of a localized system for developing instructional materials, misalignment with contemporary needs, limitations in inter-university collaboration, and the shortage of practical opportunities remain serious challenges. The present study, grounded in field realities, offers practical recommendations, including strengthening the production and sharing of specialized and digital educational resources, deepening bilateral cooperation, expanding applied opportunities for language learners, and reinforcing cultural dialogue and local collaborations. https://www.jmzf.ir/article_227317.html 1. IntroductionFormalism, as a literary school, emerged under the influence of post-Saussurean linguistics, whose aim was to demonstrate the literariness (literarité) of a literary text. Formalists identified literariness, defamiliarization, and foregrounding in texts through two main mechanisms: deviation (norm-breaking) and parallelism (rule-enhancement). From their perspective, in the first type, the poet can distinguish poetic language from standard language by employing techniques such as phonological deviation and others.In Makhzan al-Asrar, Nezami, and in Tohfat al-Ahrar, Jami have succeeded in employing phonological deviation strategies—namely deletion, substitution, addition, assimilation, easing (takhfif), and reduction (taskin)—to strengthen the musicality and metrical structure of their poetry and to achieve defamiliarization and literariness in the text. Therefore, examining these two works and demonstrating the importance of the poets’ attention to the application of these techniques, as well as identifying their frequency of use, is of significant importance.Accordingly, in this study, through examples of verses, it is investigated to what extent the use of components such as deletion, substitution, reduction, easing, assimilation, and gemination has been effective in maintaining metrical balance and in harmonizing rhyme words in these two works.2. MethodologyThis research employs a descriptive–analytical method based on library research. Two works—Makhzan al-Asrar by Nezami and Tohfat al-Ahrar by Jami—have been examined with regard to phonological deviation components.3. DiscussionSaturation: Saturation refers to the transformation of one of the short vowels [a, e, o] into its corresponding long vowel (cf. Mohseni & Sorahti, 2009: 8). In Tohfat al-Ahrar, it is used in only eight words: in one case, the short vowel [a] in the middle of a word is changed into the long vowel [ā]; in four cases, the short vowel [a] in the prefix na- is changed into [ā]; and in two cases, the short vowel [o] is changed into the long vowel [u].Examples:دامن (دامان)سر ز گریبان وفــا بر زدم دست به دامان دعا در زدم (Jami, 1378: 492)نشده (ناشده)ناشده اقلیم دوام و ثبات تنگ بر ایشان ز حدود و جهات (ibid.: 470)افکند (اوفکند)باز به حالش پی دفع گزند تابشی از «تابَ عَلَیْه» اوفکند (ibid.: 501)4. ConclusionIn phonological deviation, the technique of “deletion” shows the highest frequency: in Makhzan al-Asrar 483 cases (40.47%), and in Tohfat al-Ahrar 306 cases (45.88%), making it the most frequent among phonological devices.The technique of “assimilation” appears in Makhzan al-Asrar with 275 cases (26.99%) and in Tohfat al-Ahrar with 199 cases (29.83%), while the technique of “reduction” occurs with 206 cases (20.21%) in Makhzan al-Asrar and 114 cases (17.09%) in Tohfat al-Ahrar, showing significant usage.The technique of “easing” appears in Tohfat al-Ahrar with 25 cases (3.74%), while in Makhzan al-Asrar, despite having two subtypes of this technique, it occurs 40 times (3.93%).Nezami employs the technique of “substitution” in five cases (0.45%), while Jami uses it in twelve cases (1.80%).The “saturation” technique is used solely for maintaining musicality and meter in Nezami’s work in five cases (0.45%) and in Jami’s work in eight cases (1.20%).The technique of “gemination” also appears in Makhzan al-Asrar in five cases (0.45%) and in Tohfat al-Ahrar in three cases (0.45%) among the total phonological deviation strategies. https://www.jmzf.ir/article_243786.html 1. Introduction The feeling of inferiority is among the emotions that every individual experiences in some form in their daily life. Many prominent contemporary psychologists have developed their psychological theories based on literary works. From Adler’s perspective, the human being, both biologically and psychologically, is an entity that constantly carries a sense of inferiority. Individuals who suffer from an inferiority complex may resort to dangerous actions and reactions in order to compensate for this complex and may become the source of major social corruptions. In this study, the author seeks to examine the aspects of the inferiority complex in the characters of Khavaran-nameh by Khusfi based on Alfred Adler’s psychological theory. Adler is one of the founders of the school of individual psychology. From his point of view, social factors determine human behavior. This article has been conducted with the aim of analyzing one of the most important themes in Alfred Adler’s perspective, namely the “inferiority complex,” in the anti-hero characters of Khavaran-nameh by Ebn Hessam Khusfi. Considering the necessary investigations and the existing research gap in this field, the necessity of conducting this study becomes evident. No independent study has yet been found on this subject; therefore, addressing it is essential. 2. Methodology The present research, using a descriptive-analytical method, attempts to answer the main question: given the importance of personality and its role in the process of analysis, and considering the breadth of personality theories in the field of psychology, do the anti-hero characters of Khavaran-nameh by Ibn Hessam Khusafi possess an inferiority complex or not? 3. Discussion In Khavaran-nameh, characters are divided into two groups: positive and negative, with the number of negative characters reaching 43, all of whom exhibit signs of an inferiority complex. In this poem, themes such as jealousy, hatred, anger, arrogance, and the instrumental use of values to achieve goals are employed; therefore, the characters throughout the narrative display such traits, which are precisely consistent with Alfred Adler’s psychological theory. Throughout the story, the poet has beautifully expressed these themes through verses. These traits can be observed in the behaviors of the negative characters of the story, such as Mirsiāf, Chipāl, Qattār, Hoomān, Hāmous, Jahāngir, and Khavaran Shāh. 4. Conclusion The inferiority complex is a set of perceptions and mental impressions that possess emotional roots and are generally enclosed within a sphere of painful and distressing associations. In Khavaran-nameh, whose fundamental theme and basis for the formation of epic scenes is the confrontation between Islam and disbelief, the anti-hero characters are characterized by an inferiority complex. Traits such as fear, revenge, hatred, arrogance, behavioral contradiction, jealousy, anger, and the instrumental use of values are embedded within these anti-heroes. The root of these traits stems from a desire for superiority and a quest for power, as each of the leaders of disbelief believes that by overthrowing Islam, they can achieve their sinister goals. Thus, by following inner temptations, they cultivate moral vices such as anger, revenge, and hatred within themselves. Their desire for power has led them to close their eyes to the truth and, enveloped in false and devilish temptations, to rise in hostility against reality, ultimately meeting a fatal end. Their sense of superiority drives them to spend their lives in plotting, deception, lying, and trickery, and in pursuit of their desires, they trample upon moral principles and persist in doing so. https://www.jmzf.ir/article_215725.html Mesbah Al-Hedaya and Mesbah AMesbah Al-Hedaya and Meftah al-Kefaya.l-Hedaya and Meftah al-Kefaya. al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Mesbah Al-Hedaya and Meftah al-Kefaya. and Meftah al-Kefaya. al-Kefaya.Mesbah Al-Hedaya and Meftah al-Mesbah Al-Hedaya and Meftah al-Kefaya. Al-Hedaya and Meftah al-Kefaya.Mesbah Al-Hedaya and l-Kefaya.Mesbah Al-Hedaya anedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. al-Kefaya Al-Hedaya and Meftah al-Kefaya. Kefaya.Mesbah Al-Hedaya and Meftah al-Mesbah Al-Hedaya and Meftah al-Kefaya. l-Kefaya.Mesbah Al-Hedaya and Meftah al-Mesbah Al-Hedaya and Meftah al-Kefaya. 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Al-Hedaya and Meftah al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. al-Kefaya and l-Kefaya.Mesbah Al-Hedaya and Meftah al-Mesbah Al-Hedaya and Meftah al-Kefaya. Al-Hedaya and l-Kefaya.Mesbah Al-Hedaya and Meftah al-Mesbah Al-Hedaya and Meftah al-Kefaya. Al-Hedaya and Meftah al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. al-KefayaMeftah al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. al-Kefaya al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. al-Kefaya al-Kefaya.Mesbah Al-Hedaya and Mesbah Al-Hedaya and Meftah al-Kefaya. https://www.jmzf.ir/article_243816.html This study examines the reasons for and the manner in which the revolution of the Czech people is represented in the Persian translation of the novel The Virgin's kiss. The translation of this critical novel within the discourse of constitutionalism during the Naseri period is highly meaningful and significant. The article analyzes this translation through the lens of imagology and the representation of the “Other,” seeking to demonstrate the relationship between the image of the foreigner and the socio-political developments of that era.This research employs the imagological method of Daniel-Henri Pageaux, who proposes two principal levels for analyzing images in literature: the linguistic (textual) level and the ideological-cultural (extratextual) level. These encompass three stages of image analysis: lexical, structural, and hermeneutic reading. At the linguistic level, the study examines vocabulary, descriptions, and mental patterns concerning the Other; at the extratextual level, it explores the relationship between the text, the author, the reader, and the historical context.The findings indicate that the translator, Sadr al-Ma‘ali Shirazi through deliberate selection and purposeful rewriting, connects the image of the Czech revolution to the Iranian constitutionalist discourse. Through the text, he not only seeks to raise readers’ awareness but also to convey practical strategies for realizing the ideals of his own society. This process reveals the communicative function of translated literature in times of socio-political crisis and highlights the translator’s role as an active agent in shaping social discourses. https://www.jmzf.ir/article_244030.html Aspect is a phenomenon that is studied both in linguistics and in philosophy. In the past, this issue was related to the syntactic category "facet" until linguists distinguished between semantic facet and grammatical facet and separated facet from facet. The object is limited to the verb of the sentence, but the object is examined in three discourse positions, sentence and sub-sentence, and in a special language. To check the validity, we need a general structure that has three parts1. Examining the contextual aspect (discourse); An aspect that is neither lexical nor grammatical. 2. sub-sentential form; An aspect that is lexicalized only in sentence elements such as adjectives. 3. sentence form; An aspect that is, for example, in a grammatical verb. On the other hand, aspect is a language element that can be addressed from the perspective of phonology, syntax, construction, semantics, and usage; And each of these points of view will present different variations for aspect, and in Persian language, it has been examined only from two perspectives, syntactic and semantic, and the rest of its aspects have not been examined. Therefore , the authors believe that the aspect is divided into two dimensions: the semantic dimension and the grammatical dimension. Therefore, we must emphasize two important points in the discussion of aspect:one is to examine idiom in a special language and the second is to examine aspect at discourse, sentence and sub-sentence levels: It means that we should not impose the rules of one language on another language,