Ibn-e Arabi is introduced as the founder of theoretical mysticism. The foundation and principles gathered in his last work Fosus AI-Hekam (lobes of the wisdom) include: pantheism, bounty, manifestation, ,fixed natures, likening and transcendence, corction and option, destiny and fate, revival of the existance, perfect human being, mission, prophecy and sainthood. Araqi and Jami are the followers of Ibn -e- Arabi"s school and therefore their works are the expression of his thoughts. Araqi"s Lamaat which - according to Sadr AI-din Qunavi is the essence of Fosus and the representative of pantheistic thoughts of Araqi. Ibn-e-Arabi explains pantheism so Existance is a reality of unit and eternal that is God and universe hasn"t a real independent existance and It is illusion and universe is the same various symbols of unit reality. Ibn-e-Arabi and his followers have accepted gathering between likening and transcendence. Ibn-e- Arabi has stated two kinds of coercion and beleives in essential coercion. A real human being of the point of view of Ibn-e- Arabi is the symbol of the great name in the existance world. Ibn-e- Arabi and Shabestari both have stated prophecy better than sainthood.

The Qalandari ghazal, as an anti-genre, directly and indirectly critiques and challenges the symbolic values and general methods of other literary genres by subverting the conventions established in previous literary traditions. This research examines the interaction of Qalandari ghazal with two traditional genres, “didactic poetry” and “praise poetry, ” analyzing the heterotopic identity and inter-generic structure of this type of poetry. Finally, focusing on a ghazal by Fakhruddin Araqi, it demonstrates how this heterotopic ghazal, through the use of parodic strategies and carnival-like imagery, imitates other traditional genres of Persian poetry, while simultaneously developing them in new directions and challenging them within a complex literary game, thus creating new layers of intertextuality

Human beings and human beings are among the gruesome punishments being carried out today in the name of Islam and Muslims by the ISIS Takfiri terrorist group. The Islamic State in Iraq and the Levant has tried to take such action, citing the past and the Sahabi, and at the head of them Imam Ali (AS). The question that arises here is whether Imam Ali (AS) has basically done so? ! And does such a punishment apply to a person or persons in breach? The present study, using a descriptive-analytical method, has examined this issue in the narrations and believes that by looking at narrative books, both Shi'a and Sunni, there are traditions that the superficial understanding of them can provide a reason to claim. ISIL, but the hadith family believes that the burning was generally after the strikes.

Getting to know thinkers and poets who are the intellectual resources of a nation is inevitable. Among these great poets could be called Badreddin Helali Joghataee Estarabadi, the famous poet of late Timurid era. He is one of the Persian sonneteers of late 9th and early 10th centuries A.H. He belongs to the Araqi (Voghou) school of Timurid era. His works include: 1. Divan of Poetry, itself including odes, moghataat, and quatrains 2. Mathnavi of Shah vaGeda (the King and the Beggar), 3. Mathnavi of Sefat_ol_Asheghin, 4. Mathnavi of Leili and Majnoon. In his sonnets, Helali has been influenced by Hafiz and Amir khosrow Dehlavi. He has composed his Mathnavi of Shah vaGeda in the same meter as Nizami’s Haft Peykar, Sefat_ol_Asheghinin the meter of Khosrow and Shirin, and his Leili and Majnoon in the meter of Nizami’sLeili and MAjnoon. This study is a documentary-library research which intends to investigate the reasons for Helalie’s popularity with regard to some stylistic features of his sonnets. Among these reasons one can point to his independence from the court, his simple and nearly colloquial language, his liberalism, and his imitation of great poets.  

Kalandari poetry is a branch of mystic poetry whose formal emergence is from Sanaie's poetry. From then on the domain of expansion of its is so that Kalandari concepts seen in the poems of the poets like khaghani and Anvari. Examining Sana’i and Attar's Ghazals as the most prominent instances of Qalandari poems illustrates major features of Qalandari thoughts as well as these poets characters and the language of Qalandari poems. Observing these terminologies which is the result of a serious investigation in this field will in any way show the degree of imitation of some 8th century poets.

One of the important books on symbolic words and expressions of Sufism is Rashf-ol-Alhaz fi Kashf-ol- Alfaz by Sharaf id-Din Hosein Ibn-e Olfati Tabrizi, edited by Najib Mayel Heravi. The book consists of 300 mystical and Gnostic expressions. The same contents are attributed to both Fakhr id-Din Araqi in an appendix to his Divan, edited by Sáeed Nafisi, as "Estelahat-e Fakhr id-Din Araqi", and to Aziz Nasafi, in a book entitled "Loqat va Estelah-at-e Orafa". The overall sameness of the three copies, whether in their divisions of the contents or in their entries and definitions, proves that one of them must have been the original book. Yet, misattribution of the book to these two authors is not in doubt; nor is it possible to identify the real author unless a reliable copy is available. Relying on the exhaustive review of all the available copies and manuscripts, and the analyticalcomparative study of them could provide a text with a careful edition.

Jahan Malek Khatun is the girl of Jalalodin-Masud-Shah her pen name was Jahan from the poem of the second held of eight century A.H in Shiraz. Her poems are more than 15937 bit involved: ode, refrain, pieces, different prose and quatrains.Jahan’s prose from the view of the outside structure and not from the philosophy theme was effective of the Hafez’s prose, and from the view of language it was simple and free of pretense, But the arrays such as, show grace similes, irony stressed metaphor, and irony of action and word play were observable in it.The frequencies of some words are much in her poem, such as: lock of hair, Savannas, King and beggar.From the theme aspect, the more important feature of the Jahan Malek’s poem is its feminist. Jahan Makek wrote explicit everything that felt, with full of love and happiness. And also contrast of love and mind believe to destiny, love to God, and protest were the significant points of her poetical works.The writer of this essay tried analyzed the prose of Jahan-Malek-Khatun from the view of language stylistic, literature and bought.

One of the important points for those countries which are not considered as the source of modernity is that how they can withstand against western culture in the modern world. It seems that with the criticisms of post-modernism intellectuals for the essence of modernity, it can be concluded that although western culture had considerable progress in technology and materialism, it needed deep eastern thoughts for analyzing meaning and spirituality. In this regard, with developed civilization history had significant progress in spiritual culture which had been recognized by the whole world. One of the important achievements of Iran for the world is th expansion of love culture and lovemaking. It can be proved regarding the works of Molana, Sadi, Hafez, and Attar. But Fakhredin Araqi is one who had posed creative, deep, and elaborate meaning regarding love which had received little attention. This article aimed at demonstrating a modern and different meaning of it by the use of interpretive sociological view. This study analyzed Araqi lovemaking style in a functional way by the use of a naturalistic method and Herbert Blume grounded method and showed how this meaning can be utilized in the cognitive paradigm in the Iranian utopia. The results demonstrated that typology deduced from "Lamaat" on the basis of different types of lovemaking functions has an effective and efficient capability on today's modern world.

Sheikh Ruzbahan Baqli, the great Sufi of the Sixth Century, has been unfortunately neglected throughout researches on Sufism as Carl Ernest puts it. Ruzbahan was seeking for spiritual perfection through love and beauty. He has written more than forty transcripts, most important of which, Abhar al-Asheqeen, depicts the most innovative thoughts and spiritual understandings through a uniquely attractive, romantic, and rhetorical prose. It is worth mentioning that some scholars like Ibn al-Arabi, Araqi, S’adi, and Hafiz, were greatly influenced by him. Introducing this eminent figure, the present study tries to generally analyze his Quranic interpretations in his two masterpieces, Abhar al-Asheqeen and Arayes al- Bayan.

Revival of written works in a society is a way for a better understanding of the society’s culture and civilization. The knowledge of criticism and correction of the texts helps to study the past written works by removing the dust of distortion and time that sits on such works. Saeed Nafisi is a researcher who has entered into this area and corrected some texts in a critical manner for the first time. Most of his efforts were concentrated on reviving verse type texts.Considering the criteria required in correcting texts, this paper has dealt with his critical methods and views by studying 10 texts corrected by him, including 6 verse type works (Divan-e Anvari, Divan-e Attar, Divan-e Amaaq, Divan-e Rashidoddin-e Vatvat, Robaiyate Baba Afzal, Kkoliat-e Araqi) and four prose type works (Tarikh-e Beyhaqi, Goshayesh and Rahayesh, Lobab-al Albab, Reslaeye Fereydone Sepahsalar).