Realism, in a general sense, means fundamental will and tendency toward the objects outside the mind. Historically speaking, it has drawn the attention of the human mind. Aristotle has regarded the works of art as the imitation of nature. This idea has been strengthened even after his death. In the 19th century, first in France and then in the other countries, movements and schools emerged aiming at stabilizing the fundamentals of realism. The realist writer always uses convincing psychological innovations, internal and external causes to depict the characters interactions in social and personal structure. The present study describes realism, in a general sense and as a famous school in the 1990s. It also critically deals with its important types in fiction.

Research in literary texts and artistic works must be along with knowing philosophical imagination and understanding epistemological aspects of imagination and thus is indebted to the fundamental role of imagination in poets, literary men and artists' creations. So, thinking and research in theosophists: and philosophers' views about the essence of imagination are the basic discussion in the philosophy of literature and art. This article explains the most important epistemological arguments in philosophy with the help of Farabi's view. In Greece, for the first time, Plato gave the last and the lowest level to imagination in philosophical system and that is why artists and poets have been rejected in his Utopia. But Aristotle saw the imagination from a philosophical view. He called it one of the faculties of the soul which is able to hold and record the forms. At the beginning, Islamic philosophy reviewed Greek philosophical texts, then accepted some of Plato's and Aristotle's thoughts and their schools in Neapolitan and Alexandria as the bases and rejected their deficiencies and refutations. Therefore, it began to expurgate, correct and complete views in Greek Philosophy. Among them, Farabi, who is called "the second teacher", is one of the most famous Islamic philosophers and in other words, has established the Islamic philosophy. He has especially innovated some views in "imagination". These originations have created many brilliant literary examples in Islamic-Iranian literature and culture. The main questions in this article are: the essence of these innovations and explaining their bases and sources. But a complete illustration of this argument must be done after explaining the position of imagination in Greek philosophy, especially Aristotle's thought.

In cosmological discussions, it is argued that the cosmos consists of the invisible world and the visible world, and that every event happened in the visible word is inscribed in the supreme beginnings and immaterial intelligences. Hence, availability to the invisible world means connection and communication with human soul. This essay, in which an attempt is made to explain Ibn Sina’s viewpoint on the function of imagination in relation to the hidden, first presents the function of imagination in thinking and understanding the universals. Then it discusses the how of its function in receiving invisible things. And finally it deals with the epistemology of revelation and dream as two principal categories connected to the hidden.

The prevailing view of the author in contemporary literary theories has emerged from the theorizations of poststructuralist thinkers such as Roland BARThEs and Michel FOUCAUlT. These Theorists refute the traditional view which regards meaning as exclusively determined by the author and reduces the process of reading to an attempt at discovering the authors "intension" as disguised in the text. Taking their lead from Jacques DERRidA, poststructuralists believe that western literature and philosophy has been based on the erroneous assumption that language is a reliable tool for reflecting reality. DERRidteArms this untenable premise "logo centrism" and considers it to be an illusion to which meaning originates from reality and is capable of reflecting the structure of reality. He argues that the author merely makes mention of a chain of signifiers that evoke a range of signified. As such, it may be postulated that no text has a hidden "message", but that every text in fact manifests a free play of signs. The first sections of this article are a review of traditional views on the relation of the author and the meaning of the text. The second section discusses the new challenges to the status of the author posed by poststructuralist theorists. Citing DERRidA'S arguments about the "metaphysics of presence" and also BARThEvS view about the "death of the author" as well as FoucAulr’s notion of "author-function", it is argued in this section that on the basis of such modern literary theories it is no longer possible to simply refer to the author's name or biography and conclude from there that the text has a single meaning intended by its writer.

According to Farabi, imagination has three functions: preserving sensible forms, analyzing and synthesizing them, and representing sensible and intelligible forms by sensible ones. The Public can obtain intellectual truths and happiness only through imagination. Farabi offers imagination as an explanation for prophecy. According to Farabi, imagination has some political and social functions.

This article is an attempt to withdraw from the literary canon throughout the world the most prominent pioneers who told about their spiritual journeys (Mi’raj). The nature of the miraculous journey of prophet Mohammad being the most influential of all other ascents according to moslems is emphasized. Also the account of their spiritual, mental, and internal journeys by stages from the start of their pilgrimage to their final attainment is given in their own words. 

The narratological approach in studying the fictional narrations structure provides an organized ground and a systematic pattern for analyzing the main elements of the narrative text, i.e. story and text. In the present research, the Do Donya (Two Worlds) is analyzed in a narratological approach and the first hypothesis of the research about the possibility of applying the structural of narratology for the modern fictional narration of Do Donya is tested. The reason for choosing the Do Donya fiction in the matters of deep structure, time, place and focusing is the conflicts and discrepancies which exist between death and life. The results indicate that the narratological approach with its componenets (including story level elements, such as time elements consisting of order, continuation and frequency; place elements consisting of fiction place and text place; characterization covering direct and indirect characterizations (action, speech, visual figure, environment and names deductions); focalization (internal and external); aspects of focalization conceptive, psychological and ideological)); narrating (the narrative levels (metafictional and subfictional), the narrative layers (internal and external)); representation of speech and thought (narration, crucibles (scenario, merely briefed scenario, indirect repetition of content, free indirect speech)) can present a structural analysis of all aspects of the narration of Do Donya story.