One of the most effective ways of satisfying the abnegating addressee is reasoning. To express the message or prove a matter, one must bring reasons. There is no need, of course, to say that the reason should be so strong and decisive that can establish it to the others and if needed to apologize by its help. Then, reasoning is a strict expression to prove a subject. Now, if someone brings a reason for something that doesn’t have firmness or doesn’t materialize anything, it creates a kind of irony and if the speaker is a social critic, the reader’s mind immediately goes toward the social satisfactory reason and intentionally uses a weak and sometimes an opposite reasoning. There is no doubt that whenever the reader who expects exquisite points from Hafez, he encounters weak reasoning in his poetry and understands that Hafez intended to criticize the hypocrite and false ascetics. I call this art of Hafez, as my master Dr. Shamisa called it “the reverse reasoning”. My aim is to introduce one of Hafez’s excellent points; be it accepted by Hafez’s adorers.

Photo-voice and photo-elicitation represent a major field of visual research methodology which has been little employed in the organization and management. So the purpose of this paper is to present photo-voice and photo-elicitation methodologies and their use in the organizational culture research. The results showed that photos can provide tangible stimuli for more effectively tapping into tacit and often unconscious information, images, and metaphors that results in producing different and richer information than other techniques; and may also help to reduce differences in power, class, and knowledge between researcher and researched because these methods have unique potential to empower participants’ involvement in activities related to organizational culture management. Also, this paper will explore its theoretical foundation and then critically review the impact of photo-voice on a variety of changes in societies or organizations. Lastly, this paper will review the planning and implementation process of photo-voice by qualitative researchers.

In the course of history, photos have been published that have found a place beyond an regular photo.  These photos have become a part of a heritage and memory of the people of a land or the whole world. This has caused artists and authors to be inspired by them and create other works such as films, sculptures, poems, performances, etc. This reception and adaptation shows that the importance of these photos is such that others have become interested in them to create a work similar to or derived from it. Parody, travesty, and transposition are used more among the hypertext  that are based on photos. Pastiche, charge and forgery are less used in the hypertext of the photo.The myth-photograhs  can be placed in the position of producing ideology and become the initiator or continuation of a cultural or political movement. Also, by expanding in other symbolic systems, they cause the growth and multiplication of their meaning as well as the expansion of that medium. This research has been done by descriptive-analytical method and according to the hypertexyualité  approach. The result has shown that five factors are effective in the popularity and reproduction of photos and can make them legendary: Propaganda of power institutions: these institutions are able to make a photo famous and use it repeatedly by reproducing and distributing it widely. The photo of raising the flag on Iwo Jima is the most famous example of this. This photo has many different hypertexts and examples can be found in at least five of Gennett's six. Public favor and opposition to the ruling power: It is possible that a photo has gained importance against the usual process and government propaganda, as well as with regard to the general public, and this causes many popular or popular hypertexts to be made based on it. Like Che Guevara's photo. - Dependence on occasions: occasions and commemorations make a certain photo appear more important at a certain time and become the subject of reproduction and adaptation. The same photo may receive less attention at one time, but at another time it becomes especially important. For example, Omar Khavar's photo is more popular than ever at the same time as the anniversary of the Halabja tragedy. Photo in the position of starting and reminding an event: there are photos that, due to the specific narrative of a memorable issue, have caused the participants in the anniversary ceremony of that event to repeat actions similar to the original photo and This makes photographers try to create a photo similar to the original photo. The photo of Victory Day in Times Square is one of the famous examples for this section. The importance of the photo is based on the effects of the paratext: the audience's information is based on observing the elements in the photo and also receiving marginal explanations about it. These explanations can be true or false. The paratext of the photo presents marginal narratives and refers to things that exist outside of the photo itself. The photo of the child and the vulture by Kevin Carter is the most famous photo that has such a feature. Because when everyone sees it, they remember that the photographer of that photo committed suicide. It can also be said that the photographer and his tools do not have much effect on the production of the myth-photograph. Because the spread of a photo among people is influenced by factors after photography. The myth-photograph is created after the photography and with attention to communication and advertising. It should be noted that in a certain period, a photo may be popular and reproduced. But after the excitement and excitement subsides, that photo will usually be forgotten. Alan Kurdi's photo is a good example for this category of photos. The question of this research is how a photo could go beyond an advertising media and become a role model? "Myth-photograph" is a term that was developed in this research and also managed to achieve a specific definition of the concept and the effective factors in its production. A Myth-photograph is a photo that has been adapted by other artists due to its many reproductions as well as its pre-textual properties, creating a hyppetexyualité. Such a photo can remain in people's minds for a long time due to its features such as the narrative in itself and how it is reproduced on the audience level.