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.

In this paper, we have examined Knmal-Esmail"s artistic creativity in the area of personification. Regarding structure, the literary figure of personification is categorized into intensive, semi-intensive and extensive. By the same token, with respect to the two sides of personification, other taxonomies have been presented. Towards the end of this article, the cluster image of Narges throughout Esmail"s poertry has been schematically presented through an image network.

Introduction: Cultural criticism regards the cultural patterns in the literature and examines concepts such as patriarchy and the isolation of the female. Feminist criticism is a subset of cultural criticism. Feminism is an organized movement to defend women's rights, which is rooted in the European Enlightenment. What is known as feminism today is the organized supporting of the rights and interests of women to achieve individual independence and eliminate discrimination, especially in the 12th century. Feminism and feminist criticism is more a kind of cultural criticism than a literary theory, because the discussion is about women's opinions and women's language and whether or not there is a difference between women's and men's writings. This type of thinking was accepted in the literature mainly because women writers were looking for a way to convey the voice of equality with a tool called literature. KAMAL abu-deeb is a pioneer of cultural criticism in Arabic critical discourse, who has dedicated many of his works to the topic of culture and women in the last few decades. His works address the cultural challenges of the Arab society in dealing with and interacting differently with women, which includes the different stages of a woman's life from birth to university and cohabitation. Like philosophers such as Foucault and Derrida, he believes that the reason for the different status of women in patriarchal societies should be found in the life process of Arab women, which starts from the moment of birth and continues until adulthood. In fact, this gender discrimination is caused by the behaviors that create differences between these two human genders from birth. This article uses a descriptive-analytical method to examine the works of Abu Deeb, especially the books Anjar fi Jami al-Itjahat Beghadh, Al-Kitaba and Eskhaliyyah al-Saltah, and Al-Hurriyya, from the perspective of feminist criticism and the ideas related to women. The study comes to the conclusion that Abu Deeb's feminist criticism approach is influenced by deconstruction, post-structuralism, theories of Kristeva, Linda Naklin, Michel Foucault, Jacques Lacan's psychoanalysis, and authentic Arabic culture. Methodology: With a descriptive-analytical method, this research analyzes the manifestations of the cultural criticism of KAMAL abu-Deeb. The research seeks to use Weber's descriptive-analytical method based on document analysis and content analysis, which often relies on the text along with all its features, and critical works, including Anjar fi Jami al-Itjahat Baghadh, Al-Kataba and Eshakali al-Salah, and Al-Huriyah analyzed from the perspective of feminist criticism and the issues related to women. Results and discussion: In most of his studies, especially the analysis of Al-Stallah, al-Huriyya and other scientific research articles in prestigious European journals, Abu Deeb aims to provide a deep reading of women and their relationships within the male culture. The distinction of Abu Deeb's intellectual project is in his treatment of women as a model and a cultural sign. The critic's boldness in expressing his theories is one of his distinct differences from other Arab critics. In this respect, he considers himself as the first critic who entered cultural criticism methodically. His classification of the level of culture into official and unofficial shows that the writers in the Arab world at the level of official culture have to comply with the borders and lines drawn by the governments. In such an environment, real writers and heroes will never emerge because the heroes of this world are the result of imagination produced by the repressive culture. Abu Deeb's feminist criticism approach influenced by deconstruction, post-structuralism, theories of Kristeva, Linda Naklin and Michel Foucault, Jacques Lacan's psychoanalysis, and authentic Arabic culture. The difference between Abu Deeb's cultural criticism and other Arab critics is that, in addition to presenting his ideas, he has adapted and implemented Arabic literary anthologies. For this purpose, he has selected and analyzed texts from the Arabic literature in the Jahili period up to the present in order to prove and support his theoretical discussions. The critic in works such as Analysis of al-Salatlah, AlHuriyya and other scientific research articles in prestigious European magazines aims to present a profound image of women and their relationships within the male culture. He considers the lack of initiatives and innovations in the Arabic literature, especially in the field of story writing, to be due to the structure of domination and power, and he believes that not only a female artist but no other artist will grow in this incomplete structure. In fact, he offers a more comprehensive opinion than Linda Knocklin. Conclusion: Abu Deeb's criticism should be viewed with respect to Arab critics in this era, in addition to his opinions, good theories in application, and the corresponding research conducted on Arabic literatures. In this case, there are dozens of items, formal and informal, to consider. Care should also be taken about the limits and borders involved. There is evidence for the lack of innovation and clarity in the Arabic literature in terms of structures and belief in structural incompleteness.

The expression of postmodernism in written texts is not limited to content and subject matter,Rather, part of the postmodernist arrangement of literary works relates to the physical elements of the text, namely the page of paper, the lines, the letters, the words, and the margins of the text. These arrangements are made in line with the postmodernist principle of uncertainty and the creation of doubts and suspicions in the ontology of the audience. This leads to the confusion of genres, the collapse of the geometric order of the text and the creation of chaos in the traditions of writing and poetry, especially the arrangement of words and lines, as well as reducing the centrality of the main text and focusing on the margins of the text. KAMAL Abu-Deeb, a contemporary Syrian poet, writer, and critic, is one of the figures in contemporary Arab literature who is particularly familiar with postmodernist thought. In the collection " Adhabat al-Mutanabbi fi Suhbat KAMAL Abu-Deeb wa al-'Aks bi al-'Aks", he tries to rewrite the narrations, currents and various events of Mutanabbi 's life that have been mentioned in previous texts with a postmodernist mentality. The present paper tries to analyze these mechanisms and their role in creating meaning in the above collection based on the descriptive-analytical method. According to the author, this work does not fall into the category of fiction or poetry, because it is a combination of all literary genres and form-based arts. The results of the research show that in this work, Abu-Deeb tries to portray the tensions of his inner world and the philosophy of personal and social life in the Arab countries with an emphasis on postmodernist form-based tricks. By emphasizing form-oriented tricks, he intends to direct the audience's mind to the hidden angles of his story formation in order to challenge the great narratives at the visual level. To convey this message to the audience, he uses form-based mechanisms such as blank verse, painting, geometric shapes, vertical writing, parsing, and font change, each of which plays a prominent role in creating doubts in the mind of the audience about his real affairs and proven intellectual and epistemological patterns.

Namegh KAMAL was a well-known 19th century Ottoman poet and intellectual. In spite of the general attention to Western literature and disapproval of learning Persian language and literature in the general cultural atmosphere of the 19th century Ottoman society, Namegh KAMAL was one of the people who learnt the Persian language and benefitted from Persian literature. He reflected upon literary reforms in the Ottoman Empire, and he wrote about the relationship between the Persian and the Ottoman language and literature, the influence of Persian literature on the history of Ottoman literature, and the howness of encountering this influence in order to carry out literary reforms.KAMAL’s approach to Persian language and literature is the subject of the present paper which was studied through descriptive and analytic methods, using KAMAL’s works and writings as well as important literary and historical sources of his era. The study provides an answer to the question, why and how Namegh KAMAL paid attention to the Persian language and literature in the reform-oriented Ottoman atmosphere.

In this essay, we have tried to answer the question that what kind of style does “KAMAL o ddine Esma’il” have in his sonnets? Therefore, we have prepared a short summary about the poet. Then his sonnets were under close scrutiny through four main titles: Content, Music, Language and Literature. At first, we surveyed the sonnets regarding to its content and then the music of sonnets in three exterior, aside and interior levels that the result of each of them is available in the essay. In the next step, we surveyed the language and the syntax of the sonnets. In the end, special characteristics of language of his sonnets were under scrutiny and the final result of the discussion is found at the end of the essay.

By the term “recently found” in this article, the author means the poems found in some sources under the name of KAMAL Esmail which do not appear in his only authoritative edition of his Divan edited by the Late Bahr al-Olumi. Exceptions are the poems allegedly seen in the Divan by the editors of these collections (like Nezhat al-Majales).There is no need to make a second list of them here. Beforehand, some of these poems were identified by Hassan Atefi, though we do not believe that all of them are authentically by KAMAL.However, these poems should be included in the next edition of his Divan. Most of them are in the form of Rubaee (رباعی). The article does not include all the poems attributed to him and probably, there are other poems by him in other sources. We hope that these poems would shed more light on the portrait of KAMAL Esmail.

Accessing the thought of the author of a work can be achieved through various methods, one of which is recognizing the author's style. Stylistics is the method of using language in a specific context by a specific person for a particular purpose. Applying this method to examine works in the field of Mahdism provides new insights for researchers in this field. Shaykh Saduq should be considered one of the prominent writers of the occultation era in the 4th century AH, who introduced a new approach to discussing Mahdism in his book KAMAL al-Din wa Tamam al-Ni'mah. Stylistic analysis of Shaykh Saduq’s KAMAL al-Din involves understanding the lexical and semantic domains, text structure, the foundational issues of the text, and the methodology. This paper aims to identify his style by describing and analyzing the data in the book KAMAL al-Din. Unlike scholars before him, such as Saffar and Kulayni, Shaykh Saduq frequently uses the term "Khalifah" (Caliph) as a key word. Investigation into his style shows that he considers "Khalifah" as representing the true essence of Imamate, and believes that the stability of the universe depends on the existence of a Caliph. He also views the recognition of this term as a suitable entry point to address the issues of occultation. The term "Ghaybah" (occultation) in the book is consistently used in the meaning of being hidden, in contrast to "non-existence." Moreover, in issues related to Mahdism, he draws comparisons between Imam Mahdi and past Prophets, and the chapter of narrations in KAMAL al-Din is consistent with the theological theories of the work.

The findings of this study are the results of the author's field studies and experimental research in graphics, a comprehensive search in information networks, a library review and a historical study, in which the author has tried to describe the significant aspects of KAMAL Al-din Behzad's art management in the golden era of Iran's history of art.The main objective of the present study is to examine the procedures and patterns of KAMAL Al-din Behzad's art management. The assumptions of the present research are as follows: 1. KAMAL al-din Behzad's artistic and experimental conditions have been in accordance with applying art management. He was a professional artist and had understood the experi ences of managers before him and deserved such a position. 2. KAMAL Al-din Behzad's approach could be perceived from his paintings and the historical records and documents, ("Decree of the Appointment of master KAMAL ai-Din Behzad as Head of Royal Library").3. According to the educational system of that period (master! apprentice), it is assumed that KAMAL Al-din Behzad, the trained artist of that system, practiced the management method of a leadership type.

Layer stylistics which is one of the linguistic approaches of stylistics analyzes the different linguistic levels of artistic work from phoneme to meaning. One of these levels is the lexical level. The lexical level is one of the most significant levels of language and is of great importance in stylistics. Considering that the choice of vocabulary has a direct relation to the style of each writer or poet, the stylistic examination of this level helps to identify the style of the works of each artist, and shows the relation of this choice to the meaning and texture in which it is related. KAMAL al-Din Ismail is one of the famous poets of the sixth and seventh century AH who because of his creativity, is renowned for the creation of meanings (Khallagh al-ma'ani). In this research, we study the stylistic of the lexical level of his poems in order to show the relationship between the selection of his vocabulary and his semantic and poetical atmosphere. These words have been used to praise bravery, wariness, generosity of the praised and describe nature. The study of this layer also reveals the domination of sensual atmosphere on abstract meanings in his poems.