The empowerment of Zoroastrian Magi as a social class was intertwined with the emperors’ power to the extent that the political power of Magi can be regarded as a discontinued historical process with ups and downs. This paper attempts to reassess an apparent contrast between historical narratives and archeological findings (e. g. rock reliefs) concerning the political empowerment of Zoroastrian Magi in the beginning of Sassanid Empire until the reign of Narseh. According to the historical narratives, the Sassanid founding fathers, Ardashir and his Successor Shapur I, emphasized ecumenism (i. e. the possession of political sovereignty and religious power by emperor. ) However, according to the rock reliefs of the 3rd century, shortly after Shapur I, with the rise of Bahram I, a structural split occurred between the emperor’ s power as the sovereign and the power of Magi. Bahram I’ s reign is the first historical period in which Zoroastrian Magi, represented as a social class, obtained a political superiority. Roughly speaking, in this epoch which spanned for almost two decades (the reign of Bahram I, Bahram II, and Bahram III, ) one institutionalized reading of Zoroastrianism developed by an elite Magi, i. e. “ Kartir” , became dominant over others and turned steadily into the Imperial religion. The above contrast can be formulated, as follows: given the fact that an ecumenical power is the ultimate form of sovereignty in a monarch system, why and how a Kartir could gain authoritatively a significant share of power? Through adopting an historical approach, the authors pursue the roots of answer in three related political phenomena: First, the quarrel between Bahram I and Narseh; second, the trial and the execution of Mani the prophet; and third, the institutionalization of Zoroastrianism as the Imperial religion.

In a strange and mythological tale in the so-called historical section of the Shahnameh (the Sassanid empire period of Hurmuzd), Bahram Chobin meets a crowned woman in the palace. After that, he weeps blood, overlooks and changes his manners and speeches. He claims to be a king. A number of eight different interpretations and views have been presented about the identity of this mysterious woman, extracted from the Shahnameh or contemporary writings. These are: (1) a witch, (2) fortune of Bahram, (3) a fairy, (4) an angel, (5) a deceptive soul, (6) Daena, (7) a Demon or female demon, and (8) glory. In addition to the Shahnameh referring to this woman as the "fortune" and two ancient and reliable texts introducing her as a "fairy" (Tarikh-i Tabari or The History of al-Tabari and Tabari and Nihayat al-Arab), the traditions and characteristics of the story show remarkable similarities to the narrative theme of "Fairy and Hero". This lady is more likely to be the fortune of Bahram, originally appeared in the form of a fairy and made him fond of her beauty, and provoked Bahram be a rebel against the Sasanian king as he faced his fortune. Through metamorphoses of Iranian national narratives and dropping some part of her mythological points, this fairy has changed to a good-natured, but obscure lady in the Shahnameh.

Background & Aims: Different scoring systems are used in order to assess the functional quality of intensive care units (ICU) and to predict the required costs and facilities of intensive cares. Variety of scoring systems has been explained that each has advantages and disadvantages. In this study Simplified Acute Physiology Score-III (SAPS-III) and Mortality Probability Model-III (MPM-III) were compared. Materials & Methods: The current cross-sectional study was conducted on 240 non-traumatic patients admitted at ICU of Al-Zahra Hospital in 2016-17. Patients' information including demographics, mean of systolic, diastolic and arterial pressure, pulse rate, respiratory rate, temperature, Glasgow Coma Scale(GCS), WBC, hematocrit, bilirubin, creatinine, arterial blood gas, and the presence of underlying diseases was gathered from the records for measurement of MPM-III and SAPS-III scores and then they were compared. Results: This study was conducted on 240 non-traumatic patients. Discrimination of MPM-III in cutoff point of 0. 17 was 0. 83(P<0. 001; 95%CI: 0. 765-0. 898), sensitivity and specificity of this test in prediction of non-traumatic mortality was 82% and 73%, respectively. Discrimination of SAPS-III in cut-off of 48. 5 was 0. 78(P<0. 001; 95%CI: 0. 72-0. 84), while its sensitivity and specificity was 83% and 70%, respectively. Duration of ICU hospitalization (P=0. 028 and 0. 002) and duration of intubation (P=0. 001 and <0. 001) had direct association with mortality based on both scoring systems while total duration of hospitalization was only significant in SAPSIII (P=0. 002). Conclusion: Comparison of SAPS-III and MPM-III in non-traumatic patients presented a higher discrimination ability for MPM-III. In addition, findings showed that mortality in MPM-III was in association with duration of ICU admission and intubation while for SAPS-III, in addition to previous factors, total duration of hospitalization was associated as well.

Archetypal criticism is one of the modern literal theories based on psychological theories based on Jung ideas. While studying and examining the archetypes of a work, it is revealed, in this type of criticisms how they are understood by the author. Based on these studies, heroic journey is possible in order to achieve the perfection and individuality dream. The present article aims to review Malakut by Bahram Sadeghi from the perspective of archetypal criticism relying on the fundamentals of Carol. S. Pearson and Huo. k. Marr are based on 12 archetypes of awakening heroes. The author tries to introduce these archetypes briefly and also show the fictional characters manifesting these archetypes, following individuation and taking heroic journey. The findings show that Malakut is full of archetypes and due to its psychological approach, it can be analyzed based on archetypal theories.

Lyric is one of the most extensive literary genres. This field is the extended Persian lyric poetry and the continuation of iambic verse. Associating narrative with poetry and presenting it in the form of couplet poem and creating masterpieces such as Nezami's Khamseh and Vis and Ramin made this field flourish.Bahram and Golandam is one of the lyrics that a poet named Aminoddin Mohammad with the pen name Safi from Sabzevar has recited in ninth and tenth centuries. The verse has been attributed to Shamsoddin Katebi Neyshaboori in some sources. In this article, the relation is rejected and after the account of the narrative, the verses and the person that has recited it are introduced. We also consider briefly its narrative motifs.The objective of this article is to introduce one of the famous verses in the opinion of people so that the readers may understand its stylistic and linguistic values and also its plots.

Studying and analyzing the ways of rewriting and recreating in Bahram Beyzai’s literary works is the main goal of this paper. He is a norm-breaker author who destroys the reader’s mental and language structures and defaults. The plays, scripts and narrations which are analyzed in this article are Azhdehaak, Arash, Ahu, Salandar, Talhak va Digaran, Pardeye neiy, Siavash Khani, Shabe hezar-o Yekom and Majlese Ghorbaniye Sennemar. At first, in this research, Beyzai’s descriptive-analytical ways are introduced, and then these ways are analyzed in Beyzai’s works. The ways are generally as follows: 1. recreating an old work on two levels: “changing the plot” and “changing the dutifulness of characters,” and 2. rewriting an old work in some ways by “adding dialogue between characters”, “suggesting cause and effect relation” and “changing the ways of narration.”

Shabdiz and Golgon, two beautiful horses of Khosrow Parviz’s court, have been the subject of many historians, especially Shabdiz, that according to some historical sources, was one of the wonders of the court of Khosrow Parviz. The fame and glory of this historic horse brought it into the world of myths as far as many Persian literary works came out and many poets used it to create unique works. Since the name of Shabdiz is linked to night and darkness, it is a beautiful theme for the poet's imagination to fly in the night sky; however, the poet's imagination was not limited to the night sky, but the sky of the day, with its companionship, Golgon, was seized by him. Nizami is one of the most talented poets in the field, which illustrates the story of these two beautiful horses in the style of Myth-Lyric. The symbolic birth of Shabdiz's birth is somewhat reminiscent of the birth of the Mithras from the Stone and a marker of the new processing of the ancient myths, which undoubtedly derives from the past ritual beliefs in the drawing of day and night as a horse; it is possible that Nizami depicted Shabdiz and Golgon to associate them with Mithras and Bahram and as the symbols of day and night. Golgon symbolizes the day and the brightness of the god Bahram, and his counterpart, Shabdiz, is the night sky, and is a symbol of Mithras, the god of the night, as if they are a concept of time in a hall of symbols and similes. The magic of the Nizami’s word, with the preservation of the historical and structural framework of narrative, has tied the story of these two horses to the ancient beliefs, rituals and mythologies, so that the names of these two always shine in Persian literature.

Exploring the meaning of literary works has always been the focus of critics in this field, but the crucial issue is the use of a methodical approach to reach the hidden meanings in different layers of the text. The transtextual approach is a holistic apparatus among literary theories, through which hidden layers of meaning can be discovered. This theory does not have a precise formulation in semantics. However, its elements, from a holistic viewpoint, show special semantic capacities in the syntagmatic and paradigmatic axis of semantic, which have not been investigated so far. For example, hypertext, intertext and metatext work on the paradigmatic axis of semantic. Paratext works on the syntagmatic axis of semantic and architext works both on the syntagmatic and paradigmatic axis of semantic. As such, the interaction of these elements leads to discovering the overall meaning of the text. Therefore, in this research, according to the new perspective of "Transtexual interpretation, it is aimed to analyze y Testament of Bondar Bidakhsh, using qualitative and quantitative analytical methods and relying on library and documentary studies. By applying the theories of transtextuality and semantics to the play, we both seek to formulate a new theoretical apparatus and show the hidden layers of meaning in this play. The results of this analysis show that Beyzaei conveys meaning to the audience through paradigmatic and syntagmatic transtextual elements and transtexual interpretation is an efficient theoretical apparatus to analyze this work.