Using the concepts of Apoliticism and Anti-utopianism, the present study examines the representation of the political context in the film “Bodyguard” (2015) written and directed by Ebrahim Hatamikia. In conducting this research, the framework of Fairclough’s Critical Discourse Analysis and Althusser's symptomatic reading has been used.This article, after identifying and reviewing the political groups present at the time of the production of the text, by analyzing the oral dimension of the film, determines the position of its preferred discourse in relation to competing discourses.After three stages of discourse analysis and tracking and revealing the contradictions that emerged from the controversial matter according to Macherey, this research shows that Bodyguard rejects political idealistic discourses and, by showing the contradictions of the conditions influenced by political idealism, considers any action to change the field of politics ineffective. To break out of the discourse impasse, the film chooses a humanistic apolitical discourse as an alternative discourse and resorts to scientism and industrial progress instead of facing political and social problems.

Throughout history, government officials and important personalities have always been at risk. The main question of this research is "Is the protection of officials and personalities accepted in Islam"? To answer this question, we referred to the main sources of Islam and this main question was answered by a jurisprudential method. In this study, two different categories of evidence were found,Arguments that agree with and support the protection of personalities and officials in Islam, and arguments that seem to conflict with protection. Following various works and examining the evidence, the result of this research was that protection in Islam is a certain and accepted thing,However, according to the desirable characteristics of the Islamic ruler, the desirable fraternal relations in the community of faith and the beliefs of the believer, conditions and conditions must be set for it. In the meantime, the prohibition of intentional destruction and the order to guard in the prayer of fear are the most important arguments in favor of guarding in Islam. We also see in the biography of the Prophet (PBUH) that he was protected in wars and many bodyguards have been mentioned for him throughout history. Low identification of security in Islam can lead us to the right model for today's complex world.

Hossein Kurd Shabestari is one of the most popular heroes in contemporary Persian epic literature. According to recent evidence, the report of his life and battles in Iran, which has been identified for several years as “, the story of Hossein Kurd Shabestari”, , is the fourth part of another epic entitled Yatimnameh. A comprehensive edition of the work has not yet been published. Ignoring the various aspects of Yatimnameh has resulted in the ignorance of the historical identity of Hussein Kurd as the protagonist of the narrative, and in turn the incorrect comments and ideas about the character. This study evaluated the data obtained from the new historical and literary sources. According to the results, Hossein Kurd Shabestari is Hossein Beyg Tabrizi, Shah Abbas's special bodyguard (Qurchi), who is described in the narrative as a Yatim.

The three-year reign of Mohammad Ali Shah Qajar has been filled with scenes of conflict between the monarchy and its supporters and constitutional elements. In the meantime, the use of powerful coercive forces to protect the monarchy was obvious. Silakhori Regiment from Lorestan region, which during the Qajar period, always succeeded in local conflicts and was known for its inherent courage and loyalty, was appointed as the Shah's bodyguard and was the vanguard of Mohammad Ali Shah's army in the case of bombing the parliament and arresting and killing constitutionalists. The purpose of the present study is to mention the reasons for Mohammad Ali Shah Qajar's attention and reliance on the Silakhuri regiment in the constitutional developments and also the impact of the regiment's performance on the society of that time. The research method in this research is descriptive-analytical and the method of collecting information is mainly library and based on documents. Examining the documents, it can be concluded that the conditions formed based on the indicators of the Shah's "perceived power" of the loyal military forces, "Mental hatred" of people in response to the actions and behavior of the government and the military forces attributed to it, Finally, the formation of "attitude of dignity" in the soldiers of the Silakhori regiment was due to the acquisition of a special position by Shah Qajar, and although it caused confrontation with his fellow countrymen, in the end, the occurrence of war and subsequent conflicts was inevitable and inevitable.

Engelbert Kampfer (1651-1716) was born in Lemgo. Kampfer was a German traveler known for his tour of Persia between 1683 and 1693. In 1681, he visited Upsala in Sweden, where he was offered inducements to settle. His desire for foreign travel led him to become secretary to the second embassy of the Swedish ambassador, whom Charles XI sent through Russia to Persia in 1683.He wrote a book about his travels (later translated into Persian) published in 1712. This book is important for its Persian observations and description of the Persian court of Shah Suleyman Safavi. His book was a chief source of Western knowledge about Persia and Persian society during the Safavid period. Kampfer also collected materials and information on Isfahan society.He mixed careful observation with a strong desire to make these observations confirm the European conception of Persia. Of all early travelers in Persia, Kampfer was probably the most acute observer. He came to Isfahan in 1684 as a physician in the service Swedish mission. He stayed in Isfahan for twenty months. He dedicated his time to all sorts of scholarly activities, Including Cartography, Botanical studies, and medical observations.When he stayed in Isfahan, he wanted Jani -ibn Bahram Farangi-saz, a painter, to make him an album. His album is known as Album of Persian Costumes and Animals with some Drawings by Kampfer. This Album contains 44 paintings and drawings.Its technique is painted ink and opaque watercolor on paper. This Album was produced in Isfahan, 1096 AH. Its size is 42,32cm* 20,26cm. Bounded in brown leather with gold gilt decoration. This article created a visual interpretation of paintings and drawings of the Album (Muraqqa). This article features two categories: one for paintings of men and women and another for paintings of animals. The first category interprets representations of humans, while the second focuses on animals.1- Scene of two men dancing; the right man plays a stringed instrument while the other holds the scarf around his neck. Both men are wearing short clothes with decorations tied below each knee. Feathered hats adorn their heads.2- Portraits of a Qizilbash and a woman; The man gazes opposite towards the woman seated upon cushions while placing a strand of flowers into her hair.3- Portrait of Cavalryman; On horseback is depicted a man aiming his bow and arrow toward a Snake.4- Trainer watching a competition between two wrestlers; To the left, the wrestlers are entangled, bare-chested, shaved heads, and shoeless, while the fully clothed trainer stands aside, holding a cloth in one hand. A purse hangs from the sash tied around his waist, while a large turban covers his head.5- Double portraits palace usher on the right and the royal bodyguard on the left. Usher strands legs widely separated, holding an axe-like object in one hand while resting his other hand upon the sash tied around his waist. On opposite strands, the royal bodyguard is leaning against a long cane held in one hand while the other plays with the mustache. The bodyguard is dressed in a long robe with an elaborate, feathered headdress.6- Doubled portraits of an Indian woman and a Georgian woman. Indian woman, left, holds a small, shallow cup in one hand and a large vessel in the other. A turban wraps around her head and a long shawl extends to the ground. Three strands of beads hang from her neck. While a translucent skirt drops over her pants tied at her waist by a long sash. The Georgian woman holds a piece of fruit in one hand and the other clutches her sash, tied around her waist. She wears a triangular-shaped hat, jacket, skirt pants, and heeled shoes.7- Qalandar speaking to a young devotee. Qalandar, an itinerant Sufi, who learns and teaches during his travels, is shown bare cheated with strings of beads hanging around his neck and resting against a tree with his belongings (hat, stick, and reeded musical instrument) placed in front.8- Portrait of a Sakinah, painted in a circular vignette. She gazes towards the right.9 – Leyli tending to an emaciated Majnun, covered by only a cloth around his waist, lays upon Leyli, gazing up at her. Leyli dressed in a printed jacket, skirt, and pants, sits cross-legged, Supporting Majnun. Surrounding them rests a dog, gazelle, and rabbit.The animal category examples are, 1 – Tow Antelopes, shown side by side. One stands tall, while the other lays on the ground, head turned facing upwards. 2 – A performing goat and spectators. This painting depicts five Tabrizi Men and a dog surrounding the performing goat. One man kneels playing a drum, while another sits beside a column with a goat balancing on top. Three other men gaze upon the event from either side. 3 – Two resting goats, the goats face each other, right goat rests on all fours with large antlers spread widely apart, while the other stands opposite grazing above, painted with significantly smaller antlers. 4 – Fighting rams, two men watch eagerly as the two rams hook horns. 5 – Two Iraqi (Tabrizi) goats are shown standing side by side, one stands tall, while the other bends down to eat some leaves. 6 – Rhinoceros standing in profile. 7- Two mountain rams are shown facing each other. The left ram appears smaller, kneeling submissively before the larger ram who stands tall with horns well defined. All of these paintings are inscribed.

A clean-shaven person behind the king is shown in the four Ardashir Babakan's reliefs in Firuzabad, Naghsh-e Rostam, and Naghsh-e Rajab. The various approaches have been suggested about this person's identity, mentioned with various names and titles such as fly-whisk bearer eunuch, the servant or bodyguard of the king. The comparison of this type of iconography with those of the same preceding examples the Sasanid state in Iran during the Achaemenid and Assyrian periods shows that the shaving of the face is one of the common traditions among high-ranking clerics, which is most likely continued the later periods and especially, the Sasanid. Also, there is the possibility of belonging mentioned person to person other than the royal family based on the analysis of some of the available emblems and historical narratives. The present study is based on historical and archaeological information, which has provided new information about a clean-shaven person behind the king, shown in the four Ardashir Babakan's reliefs in Firuzabad, Naghsh-e Rostam, and Naghsh-e Rajab. This paper examines the beardless person's figure in the Ardashir I's reliefs and similar examples in the archaeological evidence such as reliefs, seals, and historical narratives. Furthermore, we are trying to determine the identification and probable position of this person. The most critical questions in this research are the following: 1-What is the identification of the beardless person in the Ardashir Babakan's reliefs? 2-What is the position of the beardless person in the Ardashir Babakan's reliefs? Most researchers have used the titles such as whisk-bearer, eunuch, servants, or bodyguards of the king. Lukonin has described this person as the Karen dynasty representative and attributed the carved emblem on his kolā h to this dynasty (Lukonin, 2005: 309). Ghirshman identifies him as a Sasanid nobleman (Ghirshman, 2011: 125), and Hinz describes him as bitaxš of Ardashir (Hinz2006: 276). By studying Sasanid riders' descent in the relief of warrior's war in Firuzabad, Kalani considers this person as the representative of the Soren family by a special emblem on his kolā h (Kalani, 2017a: 90; Kalani, 2017b: 204). Mousavi Haji and Sarfaraz believe that this person has been a servant and bodyguard of the king (Mousavi Haji and Sarfaraz, 2017: 72). The presence of beardless persons (or clean-shaven? ) has a long history among the civilizations of the Ancient Near East; for example, we can see the examples of these people in different periods, such as Assyrian and Achaemenid ones, and in the Sasanid period, on the reliefs and seals later. Specimens of beardless persons are seen in ancient Near East works such as the Achaemenid and Assyrian periods (Figure 1, 2, 3, 4). A tradition that seems to have lasted until the Sasanid period, like Kerdī r (Figure 12). He reached such a very high position in the Sasanids' political structure that Narseh mentioned his name in the inscription of "Paikuli" among his noblemen and loyalists. Also, a person without a beard is seen in Ardashir I's reliefs in Fars. We can quickly identify these people as servants. Indeed, holding a device such as fly-whisk (? ) not only did not create a disturb and disorder in their task, but also they could reach a position that everywhere are portrayed behind the king, and their Specimens are visible in the reliefs of the Assyrian, Achaemenid, and Sasanid (including Kerdī r). It seems the person who has been portrayed without a beard in all of Ardashir I's reliefs in Fars is enjoying such a position (Figure 7, 8, 9, 10, 11). Regarding all of Ardashir Babakan's reliefs, this beardless person is portrayed with a diadem and royal ribbons, so he cannot be one of the Sasanid kingdom people. We should search for his identity among non-royal family members. Among the courtiers of Ardashir are only Tansar and Abarsam, that different narratives exist about these two persons, especially in the Islamic sources are mentioned about their high position among the clerics. Tansar has not been mentioned in any sources contemporary with the Sasanid. Abarsam is mentioned in the inscriptions of the Shā pū r I's Ka'ba-i Zardusht among the Ardashir's courtiers, not as the clergy or Ardashir's vizier, but as one of the courtiers in the fifteenth row of this inscription. Regarding this person in the relief of Ardashir's war with Ardawan IV and Ardashir's investiture from Ahura Mazda, he has been both the high political and the first rank of the clergy society. According to Ibn Balkhi's version about Ardashir's vizier called Nansar, some scholars consider Tansar and Abarsam one person. He is named as "Mobad-e Mobadan" in epic texts, such as Karname-ye Ardahsir, and mentioned in the Shahnameh Ferdowsi with various titles, such as "Dastū r", vizier, "Mobad" and "Kadkhodā or Kadiwar (alderman)". The likeness of this person with the great Sasanian cleric is that like Kerdī r carrying the sword in the reliefs of Sarā b-e Bahrā m and Sarmashhad, this person also, in addition to fighting on the battlefield of Tangab-e Firuzabad with the Parthian rival, in other Ardashir's reliefs carries a sword indicating this person has had a strong political influence, in addition to the high ranking clergy, as well as Kerdī r. This is a crucial point in rejecting the approaches of those who regard this person as a simple servant or a eunuch holding a fly-whisk behind the king's head. Is it reasonable a servant who is only his duty to hold a fly-whisk (? ) behind the king's head carrying the weapon with his own? On the other hand, the carved emblem on his kolā h shows his descent and ancestry. Emblems related to the family of essential persons were carved on their kolā h, not a servant whose duty was only holding fly-whisk (? ). Regarding the courtiers of Ardashir, Abarsam is the only person who has received the honorific title, "Ardashir's Farr" or Ardashir glory has been named in many sources as the senior clergy and grand vizier, so it seems has had a very high position. If we accept the view of the scholars that Parthian's adversary of the beardless person in the third scene of the relief of the warrior's war is the king of Ahwaz, or according to Henning, Ardawan V Elymais, probably can be more trusted in Tabari's version about the encounter king of Ahvaz with Abarsam who has attacked to the Ardashir Khorra in the absence of Ardashir, and should be considered the third scene of Firuzabad I's relief related to this battle and battle scene between the king of Ahwaz and Abarsam (Figure 7, 8). Probably a person portrayed without a beard in all of Ardashir's reliefs is Abarsam, who had both a very high political position because of his numerous services to Ardashir, and senior clergy of the Sasanid period appeared with this portrait and figure in the reliefs according to the tradition of shaving face among the clerics.

This study explores the impact of innate symbols on cinema audiences, analyzing viewer responses based on Shahid Morteza Avini’s theory of Innate Symbolism. Avini’s approach to symbolism in art suggests that certain symbols resonate deeply with human nature due to their connection to intrinsic human disposition and divine nature. These symbols possess a unique capacity to convey profound spiritual truths, making them universally understandable across different cultures and times. This research aims to assess how such symbols influence audiences and communicate spiritual ideals through cinematic works.Background and Theoretical Framework: The study is grounded in Avini’s Innate Symbolism theory, which underscores the spiritual power of symbols closely aligned with humanity’s divine essence. Avini’s theory differs from Western approaches, which often emphasize constructed meanings; he argues that innate symbols tap into humanity’s natural disposition toward the divine (fitrah), making them universally relevant. This universal appeal allows innate symbols to evoke moral truths, inspiring audiences to reflect on fundamental human values such as courage, humility, and sacrifice. Objectives and Methodology: The research seeks to assess how innate symbols in cinema influence audiences and communicate ethical ideals central to Avini’s philosophy, with particular emphasis on the Perfect Human ideal. Utilizing a qualitative approach, the study focuses on three films by Iranian director Ebrahim Hatamikia—The Bodyguard, Che, and Damascus Time—which prominently feature themes aligned with Avini’s ideals. These films were selected due to their use of symbolism to illustrate universal virtues and their narratives that deeply resonate with Avini’s spiritual and ethical principles. Data were gathered through a combination of semi-structured interviews and surveys administered to diverse audience samples. The selected respondents viewed the films in controlled settings, allowing for focused analysis of their reactions and interpretations. By investigating how audiences interpret and respond to symbols such as self-sacrifice, bravery, and devotion within these films, this study aims to determine the effectiveness of innate symbols in conveying Avini’s ideal of the Perfect Human. Respondents were asked to reflect on the character traits, moral dilemmas, and symbolic representations presented, which allowed for a nuanced examination of how these elements influence audience perceptions of virtue and spiritual elevation.Findings: The findings reveal a significant alignment between the symbols recognized by the audience and the symbolic intentions embedded by the filmmakers. Viewers consistently identified core themes such as self-sacrifice, courage, spiritual devotion, and moral integrity as defining characteristics of the Perfect Human, corresponding closely with Avini’s portrayal of a spiritually anchored individual. These themes were not only recognized but often emotionally and morally internalized, indicating a deep resonance that transcended personal or cultural variation.Self-sacrifice, portrayed repeatedly across the films, was widely interpreted as a manifestation of moral commitment to a higher cause—whether national, religious, or spiritual. Audiences perceived these acts as expressions of transcendent purpose, elevating the characters beyond mere heroism to spiritual exemplarity. Courage was viewed not merely as physical bravery but as moral resilience, involving a steadfast commitment to truth and justice in the face of adversity. Such portrayals echoed Avini’s view that courage, when rooted in faith, becomes a divine attribute rather than a personal trait.Spiritual devotion emerged as a particularly potent symbol, with viewers describing characters’ inner struggles and faith-driven decisions as deeply moving and spiritually authentic. This reaction confirms Avini’s assertion that symbols of devotion activate a shared spiritual longing present across humanity. Likewise, humility was interpreted as an essential virtue, especially when represented through characters who avoided self-glorification, reflecting purity of intention and moral sincerity. These symbols functioned not as abstract ideals but as narrative forces that prompted viewers to reflect on their own moral choices and aspirations, generating deep introspection and ethical engagement.Conclusion: In conclusion, the findings of this research support Avini’s theory that innate symbols possess a unique power to convey spiritual and ethical values across cultural and individual boundaries. By focusing on symbols that are embedded within the structure of human nature, filmmakers can inspire audiences to connect with universal ideals and explore their capacity for moral and spiritual growth. The analysis of audience responses to Hatamikia’s films suggests that symbols such as self-sacrifice, humility, spiritual devotion, and moral courage are not only recognizable but deeply impactful, evoking a shared moral consciousness among viewers.This study thus underscores the potential of cinema as a transformative medium, one capable of transmitting Avini’s concept of the Perfect Human and fostering a unified moral imagination. It highlights how symbolic storytelling, when aligned with fitrah, can become a form of ethical pedagogy and spiritual engagement. Ultimately, this research affirms the enduring relevance of Avini’s theory of Innate Symbolism, offering valuable insights into the role of film in cultivating a deeper connection to transcendent truths and universal human values.

Protection of witnesses and victims is one of the most important issues related to criminal proceedings, which has been emphasized in global and regional documents and has come to the fore through human rights judicial authorities. Lack of proper support for the witness or the victim may impair the correct execution of justice; Because the courts will have no choice but to close the case or acquit the accused if the necessary documents are not collected. In the meantime, the judicial authorities are required to consider and protect the defense rights of the accused. Therefore, neither the interests of witnesses and victims nor the rights of the accused can be considered as an absolute principle; But in any situation there is room for mutual interests to be balanced. Therefore, creating this balance as well as adopting correct and path-breaking measures in this regard is one of the challenging issues in criminal proceedings that must be taken into consideration by the criminal justice system. One of the most important measures that may be taken to create this balance and according to the interests of justice is to limit the publicity of all or part of the proceedings. However, due to the fact that publicity of the hearing has been emphasized in human rights documents as a basic principle and one of the defense rights of the accused, therefore, only if a person appears as a witness in a public court session or is a victim of a crime, is, it cannot be recognized as an acceptable justification for the necessity of implementing protective measures; Rather, standing as a witness and testifying in a public session, or revealing the victim's identity through the presence of the public and the media, should be considered a serious threat to the witness and the victim, and the court by presenting acceptable evidence confirm the existence of such threats verify and prove, and as long as other protective measures can be applied, the court should not resort to holding hearings in private.Considering that nowadays the human rights documents and the rights recognized in the constitution of the governments are increasingly mixed together and have caused the formation of a single and comprehensive model related to the principles of procedure, identifying the criteria and the policy It is necessary to accept the international human rights system and model these standards in criminal laws and domestic judicial procedure. Therefore, the purpose of the issue, is to untangle the mechanisms of the international human rights system and conceivable measures to establish a balance between the protection of witnesses or victims and the accused's right to a public hearing, as well as to strengthen the components and criteria of its guarantee in national courts and in It is the light of the findings of the law of the present age.The current research, which was carried out with the descriptive-analytical method and the use of library and documentary sources, will seek to answer the question that, What is the most important programs and measures imaginable to support witnesses and victims in order to create  the balance with the accused's right to a public hearing?Regarding the background of the research as well as the innovation aspect of this article, it should be mentioned that although due to the basic importance of protecting witnesses and victims, there have been researches about it, but so far the study of the contents of the cases submitted to the human rights judicial authorities in order to identify the procedures and actions of these authorities regarding the creation of a balance between the protection of witnesses or victims and the right of the accused to a public trial has not been carried out in the present; In particular, a special attitude to the interpretations of the Human Rights Committee as the only authority interpreting the rights contained in the International Covenant on Civil and Political Rights, as well as the rulings issued by the European Court and the Inter-American Court as the executive arm of the European Convention on Human Rights and the American Convention on Human Rights, which have so far been In relation to this topic, it has been less discussed, it is one of the special features and innovations of the present article.The findings of the research show that in the international human rights system, despite the fact that the protection of witnesses and victims has not been specified as one of the exceptions to the public hearing, it is clear from the provisions of the documents and procedures of the human rights authorities, It is possible that despite special circumstances, the protection of witnesses and victims may be included in the framework of "interests of justice" and considered as one of the legal examples of closed hearings. But in order to avoid the unreasonable and widespread application of this exception, such an action is only possible "to the extent of necessity and in compliance with the principle of Proportion".Based on this, it has been concluded that creating a balance between the interests of the witness and the victim (protection of dignity and security) and the rights of the accused (publicity of the hearings) requires that restrictive measures in this regard are precisely defined and absolutely necessary. be In addition, if a minimal restrictive measure is sufficient to establish a balance, only the same measure should be carried out, and restricting the public holding of hearings should be considered as the last measure in relation to the protection of witnesses and victims. On this basis, concealing the identity of witnesses; Taking necessary measures for the physical protection of witnesses and victims, such as the presence of a person as a bodyguard; Removing the accused from the court during the hearing of witness and victim statements;  Making statements in a shielded manner that prevents physical identification of witnesses and victims, such as using curtains, walls, or any other type of cover; Listening to the statements of witnesses and victims through the use of communication technologies such as video conferencing and similar measures is one of the most common and practical measures and mechanisms related to the protection of witnesses and victims, which should be carried out by the judicial authority. Therefore, as long as these protective measures are applicable, the court should not ignore the accused's rights to a fair trial and resort to making the hearings closed.