Abu BakrShibli (247-334 AH), the eminent and famous mystical Sufi of Bagdad, despite his great status in mysticism and mystical wayfaring is known for his insanity, which made him known as one of the madmen of the prominent centuries of Islamic mysticism. No doubt those who tried to emphasize his greatness could see through the veil of his abnormal and subversive insanity his hidden wisdom and mystical perception. A glance at the personality and character of this Sufi Master and an analysis of the causes of his madness will help us to understand his real but different character. The present article is an attempt to demonstrate howShibliuses insanity as a mask in order to attain true knowledge.

The writer of the present paper has defined MASQUE, then has explained its historical origin and finally, he has discussed the various applications of MASQUEs and their relationships with symbols and metaphors. At the end of the article, the writer has chosen two poems written by Shafi'ee Kadkani and has analyzed them.

Characters MASQUE technique features a lofty technical value because the symbolic and dramatic dynamicity thereof in the contemporary literature has bestowed a lot of inspiring implications of the kind of inventive expressional loads to the words in the Arabic poems,these implications are capable of transcending beyond borders of the non-intermediated discourse that is close to tangible reality, so that a new situation which is interlaced with the poets’,values and traditions can be created. As a literary technique evolved from the call on the characters, this MASQUE technique enjoys distinct methodical renderings in the poems of Solayman Al-Isa and, being inclined towards intermixing the present and past conditions, it compels the poets to express the pervasive challenges and problems in the depth of their experiences and incites them to fancifully react to the individual and social dramatic subjects in their periphery. Taking advantage of the purposive techniques forces the poets away from the mere narration of the past incidents and consecutive and transient calls on the characters in the margins, disguising the various characters with MASQUEs or getting close to beneath their MASQUEs. I helps to establish a sort of close interaction between the poets and the calledupon characters as well as between the poets’,contemporary conditions and the events of the societies before a given community. This study used a descriptive-analytical method to deal with the technical and implicative aspects of the archetypal characters’,MASQUEs in Solayman Al-Isa’, s works and gain access through a sort of processing to many of the archetypal characters’,MASQUEs that might be pertinent to religious, literary, historical and folklore matters. Poets have defined special functions and methods for all of such archetypal characters’,MASQUEs. Consequently, they have become simply and easily capable of removing the wall between the distant temporal intervals between poets and their applied characters.

Stylistic study is one of the most important methods in contemporary literary research that began with translation movement and awakened activities and thoughts close to the western culture. This approach is an attempt to unveil the hidden beauties of different styles by analyzing linguistic elements and their relation to real situations and/or the literary work. Using an analytic-descriptive method, this research is an attempt in the stylistic study of the poem "Sarhan la yatasalam mafatih al-Qods" by the Egyptian poet, Amal Donqol. This poet was chosen because he is among the most important cotemporary Arab poets who raised the flag for human causes and remains true to his causes. He writes about humanitarian, prosocial and political issues as well as the pains of the Egyptians who suffer oppression and exploitation. His concerns include human rights and the problems of the Arab world. For this reason, his works convey revolutionary thoughts that pivot around freedom of man through revolution and reform. One of the most remarkable results of this study is that Amal Donqol has profited from various stylistic features such as intertextuality, MASQUE, dialogues, monologues, symbols, mythology, and special rhythms. By reading his poetry, you can see a character that takes you to a world where there exists no peace and tranquility, a place where there is only pain and sufferings. Also, you can recognize his beliefs and humanistic tendencies. Undoubtedly, his rebellion reflects his inner state which fuel him with special power as a result of which one can see the world from the perspective of a brave man who is alone in confronting the world. In this way, his life has turned into a poem and his poems into life; and rebellion, uprising, revolution and unrealized dreams have paved a path to his true self.

Plato, the most influential of all thinkers of ancient Greece, has exerted an astonishingly powerful effect on Western civilization and culture. In particular, European Renaissance writers and poets are greatly indebted to his doctrine of love, as discussed in detail in his Symposium. John Milton, the last and one of the most illustrious figures of Renaissance Europe and England, is no way out of Plato's sphere of leaden influence: everywhere in his work there are echoes and traces of Plato. The present essay seeks first to briefly study the concept of Platonic love and then attempts to examine young Milton’s understanding of this doctrine and his practice of employing it in one of his early dramatic works, Comus, A MASQUE. Ultimately, the article can be best summarized by stating that Milton’s Mask play told what he had already learned about chastity and love and beauty from the Dialogues of Plato.

Cet article se propose d’examiner le roman de Pascal Quignard, tout en s’appuyant sur une poétique de l’anamorphose qui s’y déploie comme modalité de la construction de la narration. Le principe d’anamorphose se dit d’une technique de représentation en arts (notamment en peinture) reposant sur « une déformation réversible d’une image » qui ne retrouve son apparence primitive que lorsqu’elle est observée sous un certain angle. L’image distordue et défigurée s’appelle anamorphose offrant de multiples visions erronées. Ce jeu d’anamorphose gravite autour du jeu d’échange entre texte et image donnant lieu à une écriture de l’image tout en offrant à la fois une nouvelle perspective sur l’art de la narration chez Quignard. Il MASQUE la réalité tout en la montrant, et suppose ainsi une esthétique du dévoilement en faisant apparaître une réalité autre, celle que l’auteur révèle et celle dans laquelle il place son lecteur/son personnage, à qui il permet d’affronter progressivement le secret de sa vie par le biais de son reflet incarné dans une collection d’objets épars qui ne renvoient qu’à une vraie et seule figure première reconstruite en anamorphose: le personnage de Flora, la petite condisciple qu’Edouard, le personnage principal, avait aimée autrefois.

In past there was a great care with a view to execution at religion's rules in constructing and building of the mosque, and nobody have competence of building the mosque, so, whenever somebody decicled to do the first step at foundation of the mosque he invited the most honest and virtuous person in the town to do it for him, it means that they exactly emphasize in the construction of the mosque this part of koran (verse No. 108 of SURA TUBE (Repentance)) «... A mosque that was founded upon godfearing from the first day is wortlier for thee to stand in ...»Therefore the architects and founders of the mosque always have an important rules in the acceptance of the mosque and it often a mosque was building by kind on or government those was formalities and usually used on ceremonies, so, these mosque in public was known as non popular's mosque that this mosque usually finds in capitals for example Shah Mosque or Sepah Sallar MASQUE in Tehran.Therefore we must have attention in our argument about building of mosque in religioude texts and the men's role in the architecture of the mosque in Koran (verse No. 18 SURA TUBE) and also care in some traditions and narratives of our grate holy leaders (that God bless them).

Qaen Friday mosque besides the other Friday mosques represents the grandeur and glory of Iranian architecture in the Islamic period that in addition to being a religious and social center, is of great importance in terms of architectural features. The building of this mosque is considered as a one-iwan. The iwan of this building is built in 1368 AD /770 AH by J. ibn Qaren and the naves, arcades, entrances and water-reservoirs were attached during the regin of the Safavid Soleymon king. The mosque architects considered principles in architectural form and space planning in terms of the nature of architecture that are derived from geometrical shapes and proportions between them. Therefore we intended with the approach of analyzing geometric proportions in the building to answer this question that how the applied proportions system used in Qaen MASQUE have benefitted from the Islamic– Iranian proportions in the architectural elements? This research is based on analytical method and the data is collected by observation from field and library sources both. Reverse engineering on architecture, plan, section and elevation of the Qaen mosque was geometrically analyzed in an attempt to answer the research question and the results indicated that the building is constructed with regard to the system of Islamic-Iranian proportions which are based on irrational numbers and geometric properties of square and double square. And also the use of golden proportion can be observed in elements such as iwan and the main entrance and positioning of the north-west entrance that were used to achieve the visual balance.

The land of China has always been one of the main civilizations of the East. This country has never been part of the Muslim realm or even had a government with the Islamic religion. However, from the beginning of the formation of Islamic civilization until today, Chinese Muslims have had a special place, such as MASQUE. Architecture is one of the most prominent relics of human civilization, and in this regard, valuable works have been created in Chinese Muslim civilization. There is a question here that where has the architectural model of Chinese mosques come from, considering the civilization that Muslims have created through economic or cultural relations leading to the transmission of Islam and the formation of Chinese mosques; To answer this question, one of the perfect examples of Chinese Mosques called the Great Mosque of Xian has been reviewed. In the present study, to discover the architectural pattern of this mosque, the characteristics of the early Islamic mosques and the pre-Islamic architecture of China have been compared. The present article is based on the premise that the architectural model of Chinese Mosques has been derived from its ancient temples. The adopted research method is a case study analysis, and interpretations are based on the features of the selected sample of ‘ Medina Mosque’ , from the early Islamic mosques, and the ‘ Confucius Nanjing Temple’ from the native architecture of China in pre-Islamic times. The comparative study of the Great Mosque of Xian with early Chinese mosques and temples shows that the architectural pattern of this mosque is derived from the traditional Chinese temples and its influence from Islamic mosques is limited to the building direction the presence of Mihrab, changing the function of traditional architectural spaces and using Islamic architectural scripts in traditional decorations of the target building.

The real goal of this essay is to study all encrypted aspects of Iranian ceremonial masks (Borge) with through archetypical approach. Symbolic masks had always different positions in theater culture of Iranian people. They were sometimes in contrast, effective, meaningful positions for different ceremonies with symbolic, decorative, natural and entertaining modes. Symbolic masks (Borge) have been applied through the time as scene accessories for providing symbolic roles in public culture. Iranian culture and literature has so much reasons and assumptions for all cultural differences of symbolic elements. The relevant stories and backgrounds of masks make this process as clear as possible. Symbolic masks (Borge) are based upon various stories related to ancient characters (oral or written) of public culture with various theater, political, comic, cultural, social and even economic applications. According to the results of this study, it is clear that symbolic masks are famous in Iranian culture and language as Borke, Borka, Borg and/or Borge. They are a symbolic concept with companionship of crow in all seven indigenous native and religious rituals of the Myth of Mitra. The origin of symbolic masks (Borge) returned back to the 3rd millennium BC in Iranian culture and literature. At present, symbolic masks are used by people in south part of Iran, Afghans, Arabs, Armenians and other Non-Iranian groups. They are sometimes named as Borghe’ in Arabic culture and language. Armenians have also a drama ritual named as Barigentan which is named as MASQUErade Ball (Bal MASQUE) by Armenia scholars of art. Iranian symbolic masks (Borge) have found symbolic form in compliance with rituals, seasons and cultures. The research method of this study is library-documentary-field one (Participative observations of writer in research field).