The First DARYUSH (B.C 486- 522) came to thorn after protracted struggles and several disputes. Immediately after initiating his reign, DARYUSH called himself the chosen king or the prophet of Ahoura-Mazda in the inscription of Bistoon and thereby he bestowed legitimacy to himself and his descendents. "Why did he call himself the legitimate king?" "How did he do it?" These two questions make the basic questions which this article attempts to answer by discussing the legitimization of power and to bring forth the reasons behind it.  

In the Iranian art history, most of the reliefs are from the Achaemenian period and represent the artistic basis of this period. The reliefs of Persepolis are the manifestation of the thoughts of artists who were bound to their proper principles and beliefs. Therefore, they tried to create works which accorded to the social classes. All the faces are apparently alike, but the creators of these statues made a slight difference which was the criterion for the recognition of each of them. The achaemenian artist follows defined rules; the difference in reliefs of human groups in Persepolis indicates that the beard-style would change in accordance with the social class. So, three kinds of beard-style can be seen in Persepolis: short, medium and long. The soldiers and ordinary people have short beards, because naturally they are not in a high position. The nobles have long beard and their beard-styles are different from that of the soldiers because they are in a higher position from soldiers. The kings are in the highest position. So, they have the longest beards. They have also the highest dignity materially and spiritually. With this classification we can find out the material and then the spiritual position of the people by looking carefully at any one of them. By comparing the reliefs of Farvahar and DARYUSH we can understand their similarities between the beard-styles of these two, which show the relation between relief of Farvahar and that of DARYUSH. The Achaemenian artist has made a resemblance between Farvahar and DARYUSH, paying attention to the beard-style in order to show the spiritual dignity of the king. Employing the beard-style in the reliefs of the Persepolis also implies that the Achaemenian sculpture has had in mind the aspects of realism and these styles are considered signs for recognizing different groups of people. Definitely, the same classification existed in the real world. Using the beard-style in the reliefs is not limited to the Achaemenian period. Paying attention to the existing works which date back to the period before Achaemenians, we can find out that beard had been an indicator of one's dignity and superior position. As we see in the relief related to DARYUSH, the king has a longer beard. Certainly, the idea of using beard-style in artistic works in this large scale has been taken from very old thoughts which rooted in the ancient beliefs of the people in that period. It had been a tradition which had come down to the Achaemenians. The artist had used this method intentionally to express his ideas. To create such works, the artist, having returned to his artistic originality and composing the reality with symbols, has created a? Work in which, comparing different groups, one can see the elevation of art in accordance with ranks. The sculptor believed that the reliefs which had higher social and intellectual rank deserved the best artistic creation. Thus, divinity is the basis of the art in question, and the beard-style is a good means to this end, because it represents the spiritual side for Iranians.

The main purpose of this research is the evaluation and comparison of the quality of four Persian translations of the English novel the prince and the pauper, by Mark Twain, the famous American writer. Amongst various models for quality assessment of translation, Garces’ model (1994) has been chosen as the framework of this research.The model contains four different levels. These levels are semantic-lexical, syntactic-morphological, discursive-functional and stylistic-pragmatic. Each one of these levels has also sub-groups and special parts based on which translated texts have been measured and assessed. In the present study, four translation of three translators are assessed and the results whichare presented in the form of diagrams show the frequency of each sub-part. By calculating the abundant quantities offour aforementioned levels and subgroups, determining the quantities of common areas in all translations (i.e., Addition, Conservation and Suppression), calculating the quantity of employed rhetorical figures in translated literary texts on the basis of three factors (i.e., Conservation, Suppression and Variation), and finally the quality of translations on the basis of two parameters of acceptability and adequacy with regard to positive and negative markers, the research came to the conclusion that the translations are classified as follows: A.Positive markers: 1.Translation of Mohammad Ghazi (1955) 2.Translation of Valiollah Ebrahimi (1969) 3.Translation of Mohammad Ghazi (1987) 4.Translation of DARYUSH Shahin and Sousan Ardakani (2007). B. Negative markers: 1.Translation of DARYUSH Shahin and Sousan Ardakani (2007) 2.Translation of Mohammad Ghazi (1987) 3.Translation of Mohammad Ghazi (1955) 4.Translation of Valiollah Ebrahimi (1969).  

Going through the darkness towards light is a nice allegory previously used to show the development of a human capacities potential capacities which are not possible to be realized as active ones or are depressed by human. The allegory of Plato’, s cave is based on the same allegory. As a matter of fact, the mentioned allegory indicates the current status of human being compared to perfection. The movie Cow by DARYUSH Mehrjooei shows these human transformations. This film shows a person who is standing on the border of darkness and light, who suddenly falls into darkness. This article is to re-read the film Cow and explain its anthropological patterns. To glean the concepts, we employed the qualitative content analysis method. In conclusion, it is claimed that redemption and desirable socialization is a gradual long-term process that is dependent on cultural patterns.

Growth ideological Islam has an important role in mobilizing the masses And led to the dominance of traditional Islam in Iran is political Islam And political and cultural consequences of this can be seen in the years after the Islamic Revolution. Has been criticized by some contemporary intellectuals. The method used in this study is a documentary-analytical method. The findings suggest that DARYUSH Shayegan is one of the most Iranian intellectuals the critic Ideological Islam. This process has seen his ideology tradition And believes that the tradition of ideology than with Eastern spirituality is lost And through the reproduction of tradition in a modern form of internal logic is accepted modernity without knowing it. Ideological traditions can not provide facilities for the production spirituality And purely political function will have to compete with modern ideologies. He sees ideology as false consciousness as false consciousness And believes that religion becomes ideology negative reaction to the collapse of the Eastern traditions in the face of the onslaught of secular rationality and modernity Myth busting. That the tradition has turned into a political tool for historical alienation And spiritual capacities for the sake of political mythology of the modern world is customary. Shayeganbelieves, Transform religion into ideology caused the collapse of the deep meanings of religions in the modern age.