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.

The development of modern formal logic has introduced new methods of distinguishing the form of propositions from their content. This has disclosed some instances of syntax - semantics confusion in traditional logic. Some modern logicians hold that the rule of conversion is based on such confusion. Since this rule is basic in traditional logic, revision of its validity implies far-reaching logical consequences. Having closely examined the case, we see that some presuppositions, interpretations and rules in traditional logic different from those of modern logic emerge as the reason why a real difference exists between these two logical systems accounting for the validity of even conversion in the former. Neglecting these differences has led to the said criticism.

The primitive Images on the walls of the caves indicate the desire of humans to represent their lives or express their wishes. These motifs have an undeniable relationship with the macro realities of the production method, political system, power hierarchy and value system. We examine these axes by focusing on the photo as a text. Based on theory and method of semiotics and poststructuralist discourse analysis, we have tried to describe these pictorial texts in the first place; then analyzed the implicit meanings and secondary meanings of the photographs; and Finally, analyzed their relation to the dominant social and discourse trends in the three periods of Qajar, Pahlavi and the first decade after the Islamic Revolution of 1979. The field of the research is family photos in Kermanshah and finally 32 sample photos were selected and analyzed. The analysis of photos of the Qajar period shows the dominance of the patriarchal discourse and assigning the phenomenon of photography to the elite and political class. During the first period of Pahlavi, photography was popular among the wealthy class, and in Pahlavi II, among the wealthy and middle class; in the first period of patriarchy, modernism (Westernization) and in the second period, feminism and consumerism are the central signifiers. In the post-Islamic revolution period, (1980d) with the spread of photography tools among the common people, we can see traditional clothing, the creation of an intimate atmosphere among family members and the reduction of patriarchal discourse. Findings show that overall the process of developments in Kermanshah and national developments in this area are similar. Also, in this historical process, technology has served the wishes of the ruling discourses, but in case of differences between the two, technology has gone its own way and was not necessarily at the command of the rulers.

Today, millions of people around the world use digital cell phones and social networks to produce and share modern cultural products across a wide geography. The importance of virtual communication networks stems from the fact that the audiences of such networks are able to play a role in both consumer and producer positions. Among the virtual social networks, Instagram is one of the networks that has become one of the most important communication systems of the last decade since its establishment (2010) due to its popularity and significant growth in terms of user attraction. Instagram is an instant mobile photo sharing service that quickly came to the forefront. One of the reasons for the success of this communication system is the consumption of photos and video images, which has become one of the most important social trends in virtual communication today. In the book Instagram and Contemporary Images, Manovich highlights the importance of Instagram, in addition to aligning the network with the camera, cell phone mechanism, as well as sharing everyday images, and believes that this feature not only distinguishes Instagram from other similar visual programs, but also shows new generation of photos. In this book, after reviewing photos shared by Instagram users, Manovich divides them into three types: casual photos, professional photos and designed photos. Manovich After comparing photos of casual and professional with similar counterparts in the twentieth century, he specifically considers the type of designed photos belongs to the era of the rise of Instagram. The type, which he believes is unique in its aesthetics, is the result of a combination of individual choices and Instagram features. He attributes this type of photography specifically to the period he calls Instagramism. Due to the novelty of the subject and the importance of its reflection in other interdisciplinary studies related to art, media and culture, This research intends to introduce the type of designed photos with a descriptive and deductive analytical method and compare it with photographs of conceptual art style. Data collection in this study was done using library documents and written electronic sources and the theoretical foundation of research is based on the views of Lev Manovich in the book of Instagram and Contemporary images. The photographs used in the study were also purposefully selected based on the selection and display criteria of the photographs designed by Manovich. Also, photographs of conceptual art style that have been selected for comparison with the designed photos style have been selected qualitatively and according to the prominent features of the style of conceptual art photos. Based on the similarities, the research findings show that the style of the designed photos can be enumerated along the life of the photographs of the conceptual art style. Also, It is recognized that the differences between the two groups have been influenced by the context in which Instagram is presented, as well as the features of mobile cameras. Two important factors that make them stand out against each other regardless of the structural similarities between the two groups of their goals.