The archaic Persian word "Kamal" or its other form "Gamal" have not been recorded into authoritative and current dictionaries. This has caused them to be identified with the word "Hamal" which possesses a close orthographic and phonetic form to Kamal and Gamal and therefore, turned into Hamal. And since the latter did not fit into some contexts semantically, new artificial meanings were attributed to it. This paper, based on analyzing some misreadings in ancient texts, especially different versions of Shahnameh, suggests that Kamal or Gamal substitute Hamal. This clarifies the meaning of some verses in Shahnameh and revives these two archaic words.

The role of pharyngeal space has been debated on developing respiratory problems and craniofacial deformities for many years. The purpose of this investigation was to find any differences in oropharyngeal dimensions between skeletal class I and class If malocclusions.Eighty patients with class I malocclusion (40 in 9-13 year & 40 in 18-30 year-old age groups) were compared to sixty patients with class Il malocclusion due to mandibular deficiency (30 in 9-13 year & 30 in 18-30 year old age groups). Patients were selected from those who had no respiratory problems, facial asymmetry, aberrant growth pattern, parafunctional habits, TMJ diseases, vestibule-cochlear, visual & hearing disorders, hypertrophy of adenoids or tonsiles, previous orthodontic treatment or maxillofacial surgery.A lateral cephalogram in Natural Head Position was taken from every patient. Skeletal relationships of craniofacial structures and oropharyngeal dimensions were measured together with the soft palate. Hyoid bone and cervical column position Results indicated that:1- There was no difference in oropharyngeal dimensions, soft palate, hyoid hone and cervical vertehral column position between skeletal class I and class If malocclusions in the normal respiratory pattern.2- Oropharynx showed some degree of growth in vrtical dimension during the growth period whereas  its sagittal depth remained mostly stable, except in the upper and lower border al class I malocclusion (PNS-UPW: p<0.01, Spt-PSpt: P<0.03, Va-PVa: P<0.01).The hyoid bone showed down ward move while the posture of cervical column and facial growth had no change. Finally, Soft palate showed a significant increase in length (PNS-U: P<U.OI) at class I malocclusion.

The battle of Rostam and Akvan DIV is one of mysterious stories of Shahnameh. Ferdowsi has tried to explore the mysterious aspects of this story. Shahnameh researchers have merely taken a comparative approach and compared Akvan DIV with Vai, Arezushamana and Akumana.The author believes that the story of Rostam and Akvan DIV has been formed on the basis of Zurvanian myth of creation. Kai Khosrow and Afrasiab respectively perform the role of Ahura Mazda and Ahriman, and Rostam and Akvan DIV are respectively representatives of Bahman and Akumana. The story is about the third 3,000 year period of the infinite time, a mingled state of contests between the forces of Good and of (EVIL). Akvan DIV is a symbol of Darkness and Rostam, by killing him, rescues the world.

The question of good and (EVIL) is among problems discussed by scholars and researchers from ancient times. Existence of (EVIL) affairs such as death, disease, disaster, poverty, impotence, pain, suffering, difference in creation and society, war, and Satan has caused some to believe in the lack of justice in the cosmic order. The approach of contemporary religious critiques to the question, however, has remarkably changed.Presenting answers of Islamic sages to the questions, the present essay offers the approach of some contemporary thinkers in this regard and precisely analyzes the problem from a philosophical perspective through expounding some well known opinions.

With regard to the problem statement in this research, it is observed that demons are among the most frequent patterns in Iranian paintings and have been illustrated as (EVIL) and malicious creatures for several centuries. According to Zoroastrian myths, before Zoroaster, demons were referred to a group of Aryan gods walking on the earth in human forms; however, after becoming a prophet, Zoroaster expelled them from the earth, and they had to escape to the underground and to continue their lives in secrecy. Meanwhile, demons were called d(EVIL)s and misleaders. In this connection, focus by Muhammad Siyah Qalam on these creatures and their illustration, as characterized by their DIVerse appearances, warrants further investigation. Muhammad Siyah Qalam was a famous Iranian illustrator back in the 15th century who inspired many other artists due to his specific styles. As stated in this study, he is actually Muhammad bin Mahmoud Shah Khayyam, also known as Ghiyas ul-Din Muhammad, the painter, who was dispatched by the Shahrokh’s court to China on a political mission and was tasked with recording his experiences during the trip. In his works, he has used a mythological creature, i.e. a demon, and depicted it in various states and human conducts, including in labor, conversations, conflicts and music. Various theories have discussed the nature of these paintings and the origin of these demons, with some theories considering demons to be symbols of demonic power and some idolatrous religions. Yet, some other theories have regarded them as shamans with guises and masks imitating demons, as some of them are recognized as narrative rites. From another perspective, these shamans are attributed to some Turkish parts of Central Asia and relevant regional cultures. These demons are also considered to be religious and social concepts used by Ghiyas ul-Din as loan translation from temple images; in the meantime, he has illustrated human images in social concepts to criticize the behavior of his social era using an imagery-oriented approach. In sum, demons illustrated by Siyah Qalam have attracted the attention of researchers and inspired other artists of the century in illustrating the apparent and visual characteristics of these demons. The key point here is the pictorial DIVersity of these demons, distinguished by their noticeable visual characteristics, which has made these images worthy of greater consideration, as morphological approaches are needed to achieve their visual details. Using morphology in studying works of art helps better understand visual characteristics and interrelationships between different components. The objectives of this study were to study the apparent characteristics of demons depicted by Muhammad Siyah Qalam and to understand their visual characteristics. The study also aimed to respond to the question: “What are the visual characteristics of these demons using a morphological approach?” This qualitative study fell under descriptive-analytical methods. Sampling was purposive and included all 28 demon illustrations by Siyah Qalam collected from the Topkapi Museum of Istanbul, Freer Art Gallery and New York’s Metropolitan Museum. Data were collected from library sources, note-taking and image-reading tools, as well as obtained tables and figures. Data were obtained using the inductive method. According to the authors’ findings, no independent study has ever undertaken the morphological sphere of Siyah Qalam’s demons. Therefore, the key necessity of this study was the provision of new results and the study significance was the provision of novel insights into the paintings of the demons. Generally, it was concluded that the visual characteristics of the Siyah Qalam’s demons fell under six categories of “general appearance characteristics, heads and faces, tails, coverings, ornaments and belongings”. Each category has its own sub-categories and each of the demons was unique compared to others in terms of characteristics of appearance, ornament and belongings, as they bear no resemblance to their counterparts and are independently unique. Siyah Qalam has employed praiseworthy precision in illustrating demons both inDIVidually and in combination with others using unique details. In depicting demons’ visual characteristics by employing equal human and animal details of various states, Siyah Qalam has sought to represent a dual half-man and half-human face in accordance with the visual tradition of demons in painting; in limb sections, however, human-like forms dominate. In the head and face sections (ears, eyes, hairs and noses) and tails and horns, animal-like forms dominate. Meanwhile, demons’ tails exhibit more DIVersity compared to other parts. In representing other human characteristics, the painter has also employed other human elements of “coverings, ornaments, and belongings”, in addition to organs and faces.

Myths are always deeply connected with literature and can affect the form and structure of a literary work in addition to its meaning. Examining and analyzing the mythological relations of a literary text play an important role in explaining its meanings and concepts. By using analytical-descriptive method, the present study attempts to investigate the mythological signs of the novel Yet, Madly. . . by Shiva Arastooee. The study of the novel, based on a mythological reading, shows that form and content of it have been affected by the myths. The myth of Shiva is added to the novel to expand its concepts and to shape and drive the narrative forward. She appears as a woman who dances around the clock, adjusting the rhythm of the novel with her movements and deciding what story to tell at what time. Also, in the novel, various signs and symbols such as names (Shiva, the god of the three heads, . . . ), places (water reservoir, Pandora's box, Palmyra, . . . ) and concepts such as death and writing are presented as meaningful units of a mythical discourse.

The reason behind the creation of a painting and the method applied, hold many hidden secrets within it and can be influenced by ever-changing internal and external conditions. One of the most important of these factors is an inner existing aspect called the (EVIL) force which with the help of the artist’s creative mind and his ideology and beliefs, and in accordance to the prevalent social, cultural and religious condition, not only creates works of art with similar content and different appearances, but also displays them through different styles such as abstract, figurative, expressive and etc; although these figurative works of art could exhibit the concept of (EVIL) and even multiply its existence to the observer. Therefore the (EVIL) force can be considered as one of the many forces that have been placed within human beings and while it is considered as a destructive nature, humans are able to employ its infinite energy as a stimulant towards artistic creation and show their beliefs and inner beings in the form of displaying the (EVIL) force (as Satan), or through passing this corporeality.

In the field of Persian literature, teaching and learning issues have an important place, so that we can see its influence in all literary genres. In the meantime, some works have been written purely for the purpose of conveying a set of ethics to the audience in the form of a remarkable rudimental and borderline narrative. In this study, relying on descriptive-analytical method and citation of library sources, the narrative of "DIV-e-Gawpay's debate with the Mard-e-Dini" relates to Ruza al-Oqool narrative of "DIV-e-Gawpay and Danaye Dini" in MarzbanNameh in representing the doctrinal teachings, analyzing And compared. The results of the study show that two authors have emphasized the teachings of "wisdom and science" and "worldly and worldly condemnation". Also, Malatyavi referred to issues such as: "Pride and self-denial; benevolence; asceticism and righteousness; Whispering, "It is possible that human beings have been trampled on, and their condemnation of fate and surrender. " The study found that the DIVersity and inclusiveness of ethics in Ruza al-Oqool is greater, which may be due to the greater volume of the author's work.

Gratuitous (EVIL) is an instance of (EVIL) that an omniscient and omnipotent being could prevent it without thereby losing some greater good or creating some equal or greater (EVIL). William Rowe believes that the existence of gratuitous (EVIL) is a serious threat to theism. Peterson argued that the two are compatible by use of free will. According to Hesker, Patterson's strategy on gratuitous (EVIL) is not effective. Hasker's answer falls into the category of compatibilist answers, but his view indicates an important difference, i.e. theism and the existence of gratuitous (EVIL) are not only compatible, but also the existence of gratuitous (EVIL) is necessary to believe in God with all the main DIVine attributes. Hasker uses the concept of "significant morality". In his opinion, in order for human choices to be morally significant, morality must not be undermined. According to Hasker, this answer_ unlike the libertarianism respond_ is useful when one encounters gratuitous natural (EVIL), because there are many moral virtues that can be realized in the face of natural suffering and Goods such as awareness, foresight, courage, caution, cooperation, etc. In this article, we examine Hasker's argument and some of the criticism that follows it.

This paper attempts to present the Taoist understanding of (EVIL). In the Taoist tradition, especially in Tao Te Ching, (EVIL) is DIVided into two categories: causal (EVIL) and consequential (EVIL). Causal (EVIL)s are those (EVIL)s that are said to be the causes of other (EVIL)s; consequential (EVIL)s are those that are said to be the consequences of the causal (EVIL)s. Causal (EVIL)s originate from human will, and cause suffering. This means that (EVIL) is not equal to suffering. Lao Tzu does not clearly talk about natural suffering. He regards all (EVIL) and suffering as resulting from human actions that are not in accordance with Tao, which is the source of all life. Therefore, the way to overcome (EVIL) is to follow Tao, to actualize wu-wei in life.