Patience has a high place in resistance literature. Islamic teachings are also full of calls for patience, including patience during adversity. Taking advantage of the life of Hazrat Zahra (PBUH), who is a perfect example for the world, in this article, the causes of her patience during CALAMITY are discussed; Reasons that will undoubtedly draw a road map for strengthening stability in the face of adversity. Using the descriptive-analytical method, and library resources, this research seeks to extract these causes. Reflecting the life of Hazrat Zahra (PBUH), the causes of the mentioned behaviors can be classified as follows: external behaviors such as: strong will, piety, consideration in the stories of divine prophets and internal behaviors such as: clinging to the Quran and following Sharia and reason, worship, accustoming the self to patience, correct education and divine help. I hope that by taking advantage of the life of this infallible lady, we can walk the straight path and get close to God.

Coffee house painting is one of the distinctive Iranian painting traditions that dates back to centuries ago; but after the introduction of the oil painting into Persian Art under Safavid rule, experienced drastic developments and since, has striven to evolve in Persian visual tradition along Qajar period and has gone through ups and downs in later periods. The painters of this art style generally depicted religious, epic and folk themes; but basically, the main focus of the patrons and hence the painters was on the catastrophic religious epic of Karbala which narrates the martyrdom of Imam Hussein, the key holly figure in Shi’a School iconography, and his companions in the first century of the Islamic history. One of the most important paintings of the coffee house tradition is the CALAMITY of Karbala by Mohammad Modabber (d 1967): the second co-founder of the coffee house painting. Working along with his contemporary companion, Hossein Ghullar Aghasi tried to attend Kamal-Ul-Molk courses in order to make new developments in the folklore tradition. Seemingly Ghullar could not come along with the naturalistic style taught there and tried a more symbolic style for his works, but Modabber managed to make a new fusion in-between the two traditions and took his own personal way which later proved to be fashionable among more common citizens and even peasants living in rather remote villages, showing much passion for the visual- verbal narrative performances called Naghali. The whole tradition shows a rigor taste for a restricted number of themes and subjects; namely the religious epic of Karbala, and few subjects stemming out of the National epic of Shahnameh. The visual language of the works is usually astonishingly simple and easy to understand due to the low expectations for taste and understanding of the originally intended audience of the genre, hence makes it appealing to explore the visual system. Analysis of the works show a great application of binary oppositions in production of the narrative in the first sight. Thus, two basic questions will rise: How does this system function in the work; and how generalizable will the verdict be. The present article aims to find answer to the first question through a case study. The notion of binary oppositions was first raised by structuralists, and according to them, it can be considered as the basis for the formation of human language and consequently cognitive frameworks. The present study tries to address the issue of reading the love/hate opposite in the painting "the CALAMITY of Karbala" by Muhammad Modabber, as one of the most magnificent paintings in the period, based on Roland Barthes’ three-level semiotic model of analysis. The model basically published in his 1964 article, “Rhetoric of the Image” severs the textual meaning of the image into the lingual, iconic and visual levels and analyses each in its exclusive code system. The research is based on a descriptive-analytical method and collecting textual and visual data, with library research (articles and books), and seeks to answer the question: How does the love/hate sign system in the coffee house painting "the CALAMITY of Karbala" produce meaning through the denotative and connotative referential functions? In this way, the polarization of love/hate is pursued as a fundamental binary opposition in Iranian visual culture. The research findings acknowledge that: in the painting "the CALAMITY of Karbala" by Mohammad Modabber, the concepts love and hate show obvious dialectic relations in which love overcomes hate, symbolizing a body of opposite concepts in the same manner: obedience, loyalty, spirituality and sacredness, bravery and martyrdom, in opposition to treason, rebellion against the truth, idolatry and profaneness, cowardice and tyranny. Symbolic units provide no meaning independent of the whole set of the work; and it could be noted that the whole system of all these opposite meaning production units lead to a passionate system of emotional reflections alongside with the core narrative of the work, producing an active dialectic interaction between the work and the audience. Hence the work shows a full interaction of all three levels of image reading suggested by Roland Barthes, namely the linguistic, the iconic and the visual in a full range. Furthermore, the denotative message of the painting "the CALAMITY of Karbala" depicts a neutral narrative of an ordinary historical-religious event; yet, on the contrary the connotative messages, referring to alternative folklore understanding of the catastrophe of Karbala, tries to imply the spiritual superiority and victory of Imam Hussein's army against Yazid's army. In the Lingual level, the presence of the Imam Sajad, the succeeding Imam after Hussein is ignored and despite the figure depicting his holiness, resting as a result of his then sickness, there is no reference to his name in the work. In the iconic level, depiction of the supernatural entities, guardian lion and presence of the fictionally believed Indian army of Sultan Gheys, tending to help Imam Hussein are evident to provide the superiority of his forces; Even the visual management of the elements of work and the styles and expressions suggesting calmness and delight, are shown in figures and faces of all the companions of Imam Hussein during the fight and even their martyrdom. Figure of Imam Hussein in the middle of the upper half of the work is bracketed in-between a row of the deceased prophets on one wing and genies who have come to help on the other. This bracketing will function as a demarcation of the figure, yet the isolation of the holy figures in contrast to the lower sectors and the maleficent army, produces a sense of privacy and spirituality. Most of the righteous army is depicted in white robes against the dark siders in full amour; and white horses of the truth show a salient dominance on the dark horses. Although the account is in contradiction with the reality of the historical documents testified by the canonical authorities, yet it proves to be reflecting the spiritual tendencies of the believers to even change the course of history. In a general view, the image resists and tries to deny the reality of the drastic consequences of the event of Ashura and in order to defy its own believed account seeks to hold on the alternative folklore narratives. Hence the overall atmosphere of the work shows the tendency of love and its superiority over hatred in the work and tries to suggest the love and passion the artist and potential audience for the companions, historical and fictive figures and even the holly figure of Imam Hussein, which in turn could be interpreted as the contextual love of the whole culture for him; A cultural expression that could be identified as a symbol for resistance of folklore culture against the officiality of history.

This article comprises two parts: in the first part, it is proved that there is a variety of causes for the descent of divine disasters or blessings on servants. In some cases, these causes are in conflict with one another and cannot be aggregated into one case. In this regard, there are six causes for suffering from calamities and two causes for the descent of God’ s blessings on the servants in Koranic verses and traditions. The second part proves that, due to the contradiction in the proofs of the disasters and blessings, the attribution of suffering from calamities or the descent of blessings on a person to a specific cause is certainly not morally justified, and the attribution that God certainly for this particular reason sends down the blessings or calamities is not right. There are two moral reasons for proving this: one is based on the immorality of lying about God and the other is based on the immorality of slandering the servants

Man is created in the hardship and faces different difficulties during his life. The management of difficulties helps him to release from sufferings and reveals the path of the peacefulness at the heart of the pains. In the other hand, the absence of the management causes Psychological disorders and dissatisfaction with life. Some religions according to their own weltanschauung (world view) present programs to manage difficulties in order to facility or eliminate them. The Quranic teachings of Islam and its Islamic religious leaders’ teachings and Buddhism teachings have stated methods to achieve this thing. This paper with analytic-descriptive method aims to find Islam and Buddhism approaches to release from pain and to compare and analyze them in the schematic form. The Quran with acceptance of pain and suffering in human life in the different cases believes that it is purposefulness and the profundity of it is good and right and it is a mean to perfection. Islam in a general and total look divides it in to three categories: reflection of deeds, atonement (kafareh) for sin or a back ground for individual perfection. In other side, Buddhism with a pessimistic look to undesirable happenings in human life does not state the goal for suffering which is a universal feature of all existence include man and to free from suffering (the end of suffering) necessarily happens after practicing the eight-fold path. After stating the problem and concept ology of it, this paper aims to present methods (strategies) for liberating from suffering and analyze it.

There are different methods for criticizing a work of art, which critics use to criticize and analyze works of art and literature. Until today, the criticisms focused mostly on the author's external world, the work itself, and the author's influence on the story. This research tries to examine the findings of psychological studies about the collective unconscious mind and the use of its contents and facilities in the creation of artwork; Therefore, the main goal of this research is to answer the question, what role did the factors and elements belonging to the unconscious mind play in literature or giving literary dignity to "Da" and "Kelidar"? This research has been conducted by document analysis and analytical-descriptive method. The result shows that any text with any level cannot provide a suitable platform and necessary conditions to play the role of archetypes and myths. Texts that are solely developed by the intellect and the five senses cannot go beyond the intellect; this is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal.Keywords: Collective Unconscious Mind, Archetype, Kelidar, Da, CALAMITY, Literacy. IntroductionIn recent decades, the attention of critics of literary works has been drawn to psychology more than ever before, the reason for the interest is that it has been able to enter the boundaries that were closed to critics in the field of analysis and criticism of works. Freud and Jung are among the psychologists who were able to discover the relationship between literature and the human psyche and open its gates to the world. One of these gates and achievements was the unconscious mind. Freud stated that the human mind should consist of two parts or areas, the conscious part (rational area) and the unconscious part (irrational area). Freud later revised this theory and said that no thought is completely conscious or completely unconscious, and instead, he considered states of consciousness or unconsciousness. In completing Freud's comments, Jung divided the unconscious into two parts, individual and collective: the first part: the individual unconscious which is specific to individuals, and the second part is the collective unconscious which is the result of the lives of many generations of our ancestors and is in no way unique to an individual and exists in everyone. Jung believes that the basis of a person's unconscious contains once conscious information; but in a period due to being forgotten or suppressed, they have gone out of the conscious field; while unconscious contents never enter the conscious realm; therefore, they are not acquired individually and their existence depends on heredity. According to Jung, the individual unconscious is generally made up of complexes, while the collective unconscious is basically made up of archetypes. This opinion of Jung is not accepted by other psychologists, including Eastop. Eastop states that it is not possible to know the nature of the collective unconscious except in an indirect way. He says that the nature of the unconscious can be determined by analyzing the characteristics of human behavior, especially his linguistic behavior. According to these materials and since the researchers cannot directly reach the unconscious mind, they must inevitably find out the nature of the unconscious by examining the effects emerging from it. Literature ReviewIn the literature review of this research, there was no material confirming the opinion that research is directly centered around the explanation of unconscious themes and images in the formation of a work of art, especially a story. In Sara Mobra's thesis, which deals with the category of unconsciousness in the field of painting, she examined the topics of unconsciousness in the paintings of several artists and the result of the work led to the acknowledgment of the important role of the unconscious mind in their creation. The researcher attempts to study this issue in fiction and examine the unconscious expression in the works created in this field.Clarification of this issue will have such results: 1. With the expansion of research following this issue, critics of literary works will criticize the works in a more fundamental way; 2. The works created in the field of sustainability should be looked at from a different perspective and the enrichment of the literary part of this type of work should be done more easily. MethodologyThis research has been conducted in the form of documents and library studies. In the process of conducting the research, by comparing the contents of themes, archetypes, and images of the collective unconscious, the semiotic concepts and archetypal symbols of the two books of Da and Kelidar were analyzed in accordance with the reference books in the field of symbology. Finally, the conclusion was drawn by comparing Da and Kelidar. Discussion"Imagination", "myth" and "archetype" are the main perspectives that have attracted the attention of critics when examining the influence of the contents of the unconscious mind in the formation of desirable works of art. The main issue of this research is the answer to the question of whether the creators of the so-called sustainable literature have used the themes and images of the collective unconscious mind and their capacity in the artistic richness of their work. To answer this, by choosing a limited and researchable theme of "reaction to CALAMITY" and with the help of the mentioned perspectives, the role of the unconscious in the creation of artistic and literary works has been explained. "CALAMITY" has wide meanings and concepts. In this research, the tragedy of losing loved ones has been specially investigated. According to the opinions of philosophers, "imagination" is the main factor of creativity and also the creator of artwork, which has differences from "imagination". Coleridge, the English literary critic, and philosopher, does not separate the primary imagination from the secondary imagination; rather, he considered it a higher rank and position in which he can make a difference between the artist and other people. From his theories, it is understood that a person can give it the soul appropriate to the work, which can connect the imagination to the higher level of imagination, regardless of his will and desire. Of course, there were others who considered other forces to be effective in literary creation; among others, we can mention Proust, who considered instinct as a source of inspiration and power and considered the writer to be someone who can use it and mix it with internal and external factors to create his work of art. This is despite the fact that Jung considered instinct as a physical tension that is received by the senses. He equated "instinct" with "archetype". In fact, from this point of view, Jung called the instinct an archetype, and the archetype also emerges and shows itself like an instinct; just as the instinct is spontaneous and stimulating, the archetype also appears instinctively and spontaneously.Based on this, the themes and images emerging from the collective unconscious mind, which are represented in the works of art, can be traced through the archetypes used in the texts and understand which artistic texts are the suitable platform for these images. To achieve such significance, considering anything as a scale other than the collective unconscious seems far from scientific logic. With this criterion for measurement, one should compare works that are on both sides of this spectrum in their foundation; just like night and day, white and black, good and evil, and to understand each of these concepts, one must understand the other. In this research, two works have been placed on both ends of the measuring scale, which are in front of each other. One is the flagship of the memoir, which is the seat of reason and objectivity, and the other is a novel full of archetypes, which the reader realizes in the first reading. The result shows that any text with any level cannot provide a suitable platform and the necessary conditions to play the role of archetypes and myths. The texts that are only developed by the intellect and the five senses, cannot go beyond the intellect. This is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal. ConclusionThe comparison of the two books from the point of view of the reaction to the "CALAMITY of losing loved ones" and the role of archetypal themes and images in giving them literary and artistic dignity shows that in some themes and images, the narration of both works has been compiled in such a way that they can provide more or less capacity and capability for archetypal reading and emerging from the realm of the unconscious mind; among other things, in the archetypal images of "death", "mother" and "lost", it seems that the feature mentioned in Kelidar's narrative has more depth and variety, and in this regard, it can bring the reader with him more. Kelidar's expression is such that you can read it many times and get to know more angles of it in each reading. This is why repetition in reading desirable literary works increases the reader's excitement; because in every reading, a knot is untied. Perhaps it can be said that because of its type, which is a memoir, and in its core and primary material, it has a lot of dependence on reality and the self-conscious world. Therefore, at least in the presentation and first report of self-narrative, it is deprived of this gift. These two different types of narration showed that the effect of possessing unconscious content in reaching a literary work to its desired position, which is the continuous communication with the reader, is important, and Kelidar's ability to communicate with the reader is greater by using archetypal elements instead of narration and connecting the reader's soul and unconscious with these themes.

Manchr('39')s inevitable encounter with hardships and sufferings is one of the general divine Sunnah known as the law of ibtilā . Theologians have considered pain as a reflection of divine wisdom and have explained the why of evils. Some narrations refer to people who live in complete peace in this world and the hereafter; the appearance of these narrations contradicts the generality of the law of ibtilā , which has religious and intellectual support. The purpose of this study is to provide a correct concept of these narrations, in addition to resolving apparent conflicts, to suggest a solution to get rid of the sufferings ahead. Using the method of library and content analysis, this article tries to find the common ground between them and the pervasive law of ibtilā , while expressing the validity of the narrations of "those free from CALAMITY" in the shadow of presenting the correct meaning of these narrations. The findings of the research show that the validity of the narrations of " those free from CALAMITY " may not be refuted. The concept of "ʿ ā fiyat" mentioned in them contradicts its meaning in the eyes of the general public, scholars and other narrators, and is in line with the general law of ibtilā .

Farmers` religious beliefs and the type and manner of belief in religious problems are of high degree of importance in agriculture development. To examine this claim, a statistical study performed by way of distributing a measured questionnaire among 400 farmers of the villages at the west of Golestan province. As is shown by findings, farmers` measure of belief in each case of belief like trust in God, praise, khoms, zakat, waqf and sadaqah or effect of sin in appearance of calamities in chosen society according to age and level of education were considered. Measure of the belief in the subject of the studied was between 3. 6 to 3. 7. The result of Analyzing variance showed gender, age and level of education. Most farmers viewed, as is clearly viewed in verses and traditions, that what happening to them, good or bad, originates from their own actions. That is, there is a relation between belief, action, morality and natural events. Considering the result of the study in agricultural activities of engineers and specialists in the field will be of considerable effect and, finally, it is recommended to use religious scholars to support such beliefs in farmers.

Various Quranic verses have introduced some components of happiness and in such subjects as refreshment, gift, thanksgiving, contentment, patience, CALAMITY and sedition one can understand the view of the Quran. Happiness includes the three components of contentment in what is the pleasant, lack of negative emotions in the unpleasant and joy in the pleasant and unpleasant. Belief in Divine ownership, patience, belief in destination, true knowledge of this world, reconsidering the gifts, measured management, thanksgiving, to correct assessing privation, knowing true meaning of CALAMITY and helpseeking can be considered as the agants for establishing the first two components. While a complete and essential pleasure given not being of negative consequences are the agants of the third.

Dear Editor The outbreak of Covid-19 has caused concern among the general population around the world. Many people may be anxious and scared, and those who are directly affected by the virus in different ways may experience more panic, fear, and anxiety [1]. Everyone who is exposed to a traumatic crisis is affected to varying degrees [2]. The effects of an accident crisis on some people go away quickly, and they regain resilience. However, typically at least one-third of these people develop a condition called CALAMITY Syndrome,that is, the patient may be physically relieved of the disease over time, but its psychological effects may remain in him/her for a long time [3]. But the question is, which groups are most at risk for CALAMITY Syndrome, which includes severe anxiety, stress, and thought disorders?..

The international community is witnessing the emergence of new horizons in international law. The substitution of the classical notion of the sovereignty by the new humanitarian one, and the emergence of “Responsibility to Protect” doctrine hold states and international community responsible to protect humans from genocide, war crimes, ethnic cleansing and crimes against humanity. All these efforts have been attempted with aim of prohibiting gross violation of human rights and guaranteeing the worth and dignity of humans. Sudanese Darfur crisis - which has not been resolved yet, despite the international associations’ interference - is one of the human tragedies which took place during the first decade of the 21st century, and led to the gross violation of human rights. The UN Security Council has referred to the “Responsibility to Protect” principle in its numerous resolutions concerning this CALAMITY, but given that there are some misinterpretations about this doctrine, some scholars’ opinions about its failure in Darfur do not seem rational. This article tries to elucidate the aspects of the “Responsibility to Protect” doctrine by presenting a concise review of Darfur crisis, and studying international community’s perceptions of this doctrine in Darfur. It finally gives a realistic assessment of this doctrine’s effectiveness in the said CALAMITY.