Abu-al-Hassan, Ala-a`Ddeen Ali Ibn Abe`l-Hazm Ibn a`Nnafees al-Qurashi a`Ddimashqi (607-687 A.H.) was born in Damascus, wherein he grew up and was occupied studying sciences as syntax, jurisprudence, medicine, theology, tradition, logic, etc. His most well known masters in medicine were Muhadhdhib a`Ddeen a`Ddakhwar and Umran Israeli. After completing his studies, he left Damascus for Cairo, where he started lecturing and meanwhile giving medical treatments to the sick in a hospital. At the same time, his knowledge on various fields of study was overspread and admirable. About 36 books have been remained from him, most of which, still unpublished. The following list is only some of his major books on medicine: The Explanation of Hippocrates "Aphorism", the commentary of Galens "Anatomy", the explanation of "The prognosis", the explanation of the "Canon", the explanation of "The materia medica", "al-Mujaz fi`Ttibb", "a`Shshamil fi`Ttibb" that has been including 300 volumes of which only 80 volumes have been copied fair, and "al-Muhadhdhab fi `l-kuhl" which contains the whole knowledge of ophthalmology in Islamic Medicine. From Ibn-a`Nnafees, there have also been remained some compilations on other fields of science as logic, philology, jurisprudence, syntax, tradition and so on. What has caused Ibn -a`Nnafees fame to be world spread is the pulmonary circulation which he has discovered for the first time. As it is mentioned one of his important books is "al-Mujaz". This book is an extract of whole parts of the "Canon" of Ibn Sina, except the two parts of anatomy and physiology. As one of the most well-known books of Ibn-a`Nnafees, it has obtained more than ten commentaries commentaries including Nafis-Ibn-Awadh al-Kermani`s which is apparently considered to be the best, Aghsaraii`s, Aghsati`s, Bolboly`s and Kazerooni`s commentaries. The book "al-Mujaz" consists of four main parts: The first part contains the general principles of theoretical and practical medicine. It discusses some important points dealing with natural affairs, conditions of the body, causes and symptoms. In the practical medicine, some general principles about hygiene and therapeutics have been stated The second part includes the terminology of the materia medica. About 200 simple drugs with mineral, plant and animal origins, written according to the arithmetical arrangement of the Arabic alphabets (Abjad alphabethical order). In each monograph there have been stated points about temperament, peculiarity, dosages and adverse effects of each drug. There have also been inserted names and the ways of preparing some compound drugs. The third part talks about the diseases of the whole organs of the body. In any case the temper of organs, the related diseases, sorts, symptoms and way of treatment including nutrition therapy and drug therapy have been explained. This part consists of the main volume of the book. The fourth and the last part of the book is allocated the diseases which are not special for a certain organ. In the six chapters of this part, there are some explanations about the different sorts of fever, crisis, inflammations, pustules, leprosy, epidemic diseases, the methods of preventing them, orthopedic, kinds of trauma, cosmetics, and diseases of skin and hair, and finally information about poisons, methods of preventing them and treatment of poisoning. "Al-Mujaz" has been corrected by Abd-al-Kareem al-Azbavi and Ahmad Ammar, and published by committee of revival of Islamic Inheritance in Cairo (1422 A.H. / 2001 A.D.). This book is under translating into Persian by the authors of the article.

Commencing at the tenth/sixteenth century, Islamic painting was remarkably influenced by the relocate of artists. In the reign of the Ottoman rulers, borders of this country were open to Persian artists and regarding the fact that Persians and Ottomans both acquired the same language in the royal court, this made the matter more undemanding. Thus, Ottomans were relatively active in drawing poets, writers, and artists towards themselves and in the time when Persians were occupied in the restlessness and turbulence of political conditions, many Persian artists travelled to Ottoman workshops hoping to gain the support and patronage of Ottoman rulers. With the departure of these artists, not only did they take their proficiency and talent but also transferred many Persian manuscripts to Turkey. However, in the Ottoman royal court many manuscripts were illustrated and completed in the Baghdad school, which predominantly consisted of religious manuscripts. These manuscripts were generally about the life and memoir of the Prophet of Islam and Imams.Siyar-al-Nabi one of the many Turkish manuscripts, illustrates the life of the Prophet and Imams; and is derived from its Arabic copy. This manuscript was illustrated in 981/1003 from its older copy which was composed in 766/1364 by Ahmad-Ibn-Noor-IbnMostafa by the order of Morad III. Originally, this manuscript consisted of six volumes but only four remain today.This article is organized according to the following aims: 1-ldentifying the basics and outline for creating the manuscript of Siyar-al-Nabi.2-Understanding the painting techniques and the type of contents used.Questions answered throughout the article:1-What are the main characteristics of Siyar-al-Nabi? 2-What are the basics for creating this manuscript? 3-What are the content and theme of the paintings? The compilation of subject matter and data used in this article is extracted from library and record materials and the conduction of the theme is descriptive, historical and analytical.

Among the Shahnameh manuscripts that were composed and illustrated in various periods, by the order of kings, Tahmasebi Shahnameh has a high artistic significance compared to other manuscripts. This manuscript is considered a unique and exquisite work of art in the Safavid era. Splendid and magnificent paintings exist in this manuscript which resembles the style of Tabriz school. This Shahnameh was probably established and the end of the reign of Shah Ismaeel by the royal workshop. It took almost twenty years to illustrate this manuscript and in composing it; the most influential and leading artists including Sultan Mohammad and Agha Mirak participated.The above mentioned manuscript, has 258 pages of painting that 118 pages of these paintings are kept in Tehran’s contemporary museum of art and rest are diffused around the world without no exact information about them. In the midst of tenth-century, the Tahmasebi Shahnameh was sent to the court of the Ottoman Empire as an official gift from Shah Tahmasb. Later on, a famous collector bought the entire collection and in 1959 it came into Hottan’s possession and consequently after that, it was famous for Hottan Shahnameh.This essay will achieve the following aims:To introduce the Tahmasebi Shahnameh manuscript.To identify and study the paintings regarding their concept and technique.And it would answer the following question:Under what circumstances was the Tahmasebi Shahnameh illustrated and what are its most significant characteristics?

The aim of analysis of any work a critical study of events, ideas, readings and the world of thoughts of the author. This article analyse the content of "Childhood", autobiography of French autor "Nathalie Sarraute" who followed the school of "new novel". In this MASTERPIECE, Sarraute with mixing the world of reality and fantasy and with making new method of autoboigraphy, has crated exceptional work. This article try to study not only the content of the work, but also to research about narration, structure and important charateristics that distinguish the new novel from traditional one.

I would like to point out the major characteristics of communicative novel« Persian Letters» in the 1721. For the developing of social-educative purposes, he made a comparison with the cultural atmosphere of Iran, for the sake of natural thoughtful human's understanding instead of cultivated human of the 17th century who didn't think deeply. Supposing judgment of Eastern foreigners about the social structure of the French and the entire Europe, Montesquieu paved the way for his reaction towards his universal point of view among signs and phenomenon, not only published the everlasting philosophical piece of work "Esprit des Lois" in 1745 which was formed regarding to this novel but also his contemporaries such as Voltaire influenced by these clear- view purposes, moreover gave consistency to his philosophical notions in order to penetrate the public culture. Therefore, researches on rational humanities about individuality and its influence on training women, also in religion and politics, considering the geographical conditions were used like a copy machine. Educational and social rules which were created at the end of 18th century, the time of revolution, one of whose founder is him did not reach the end in the same way, based on the will of intellectuals. Defections and misinterpretations of cultural investigations and incompletely formed teachings brought other cultural challenges for humanities, but opened a new season as humanity in 19th century. Researches on epistemology which found its rational way from this era, have passed long way of three hundred years besides universal theories and still being in existential ups and downs, continued those investigations. The eagerness for Iranology entered a new era from that date.

Prefixes and suffixes are significant morphemes or words which aid linguists to make new words and parts of speech such as nouns, adjectives, adverbs, and verbs. By making thousands of scientific and technical terms, on one hand morphemes enrich Persian language, and on the other hand to a large extent create a barrier to keep intact the Persian language from the invasion of foreign expressions. The study of adjective making suffixes in Shahnameh which is a fine repository of dictions and is an embodiment of eloquence in the Persian language is of utmost importance in order to make correct adjectives and to determine the ancient ways of making adjectives. The research shows that Ferdowsi had masterly used about 26 suffixes to make adjectives and had drawn variety of meanings from them.

The Sasanian art is the reflection of mythological concepts in connection with the Zorastrian beliefs. The mythological concepts of this period are conveyed by various representations of natural motifs such as plants, animals, the birds and mythical creatures. So the motifs may show a profound symbolic concept. Although camel is a rare motif in Sasanian art but it is related to obscure mythical concepts. The camel motif was used in Iran from the prehistoric times. The first two examples are the camel motif painted on the potteries found in Teppe Sialk, which is related to the third millennium B. C., and a bronze ax-head discovered in a grave at Korab in Sistan which had a sitting camel on it. During the Sasanian period, this motif is found on the seals )Qasri AbuNasr, Tacht e Suleiman), metal vessels, stone reliefs )Hatra and Palmyra), wall-paintings in castles )Panjikent, Afrasyab). The importance of these specimens on which the camel motif is used, shows the credibility of the motif. The study aims to study the mythological backgrounds of the motif and its relations to Zorastrian concepts. Understanding the symbolic ideas of the camel motif is the main aim in this study. The present study uses descriptive-analytical method and data collecting method is Purposive sampling. The name of the prophet Zoroaster in Avestan language is “, Zarauš, tra”, . The second part of his name is the Avestan word for camel, “, Uš, tra”, . Although different interpretations have been suggested for the meaning of the name but it is more accepted that the name of the prophet means “, who is fostering/cherishing camels”,or “, he who can manage the camels”, . other the meanings like “, longing for camels”,and “, he who is with angry/furious camels”,are also proposed. Therefore, the camel may symbolize the concept of bearing knowledge and spreading the light of faith in the dark of infidelity. It clarifies the reasons of using the camel symbol on the Sasanian seals belonging to the priests. Besides that, the motif of camel is used in the reliefs of the warriors in Hatra and Palmyra. The research results show that the camel motif was the absolute depiction for war gods in Near Eastern cultures. The gods named Arsu, Ruda, Reshef, Bahram and Vahagen are all related to the camel. Arsu, Reshef and Ruda always ride the camel in complete armor. Although Bahram and its Soghdian identification “, Vahagen”,were never showed riding the camel, but in Avesta camel is described as one of the incarnations of Verethraghna)Bahram/ Vahagan). In Yasht 14, lines 10-13 are dedicated to camel, as the persistence and determined symbol of Bahram and is described as a long haired beast of burden, with sharp teeth, quick eyed and bright strong sight. The camel has ventured far sight and is capable to see in the deep dark of the night which symbolizes the vision inside Bahram. The bravery, uncontrollable victory, the furious, inevitable fighting powers of Bahram are all symbolized with the natural powers of the camel like his uncontrollable temperament and greatest strengths.

This paper will introduce the manuscripts of Khavaran-Nameh which is a religious-epic manuscript. It describes the bravery and virtues of Imam AU during his life.Khavaran-Nameh was illustrated in Shiraz with the assistance and patronage of the Turkmen, who ruled the west and south parts of Iran. This manuscript emerged out of the rulers concern and attention towards art and culture.The main purpose in this paper is to introduce this manuscript and the cause of its illustration, also proceeding with its typical and conceptual factors. Khavaran-Nameh is a distinguished MASTERPIECE which was illustrated by the Turkmen.So, first we will focus on the cultural, social and artistic backgrounds then the painting status and manuscripts created in this era, followed by a detailed introduction of its meaningful paintings.

Due to the challenges translators usually encounter while dealing with contemporary literary texts, assessment is considered to be a significant issue in literary studies. The paper aims at criticizing equivalent choice of Costello and Bashiri (translators of Hedayat’ s Blind Owl) based on the semantic-lexical level in Garcé s’ Model. The model consists of: Definition, Cultural (or functional) equivalence, Adaptation, (Grammatical) Expansion, Grammatical reduction, General versus particular or vice versa, and Ambiguity. Findings revealed the requirement of adding four more items to the model. Moreover, it was found that while Ambiguity had no occurrence in the corpus, Adaptation had the highest frequency. Furthermore, Bashiri never resorted to Deletion, while in Costello’ s work two cases of this type were detected. In general, Bashiri’ s quality of translation was recognized to be influenced by the translators’ frequent revision of his translation, as well as his access to Costello’ s work.

The present article is an attempt to study the book "The Redeeming Prince": The Meaning of Machiavelli's MASTERPIECE”, by Maurizio Viroli, an Italian professor of political science at the US academia, which is published by Elmi va Farhangi Publication under their "collection of Thoughts and Thinkers" in 1398. In their critique of the book, the authors have tried to use the basis of a particular phenomenological method. Accordingly, and based on the fundamental belief that any critique/interpretation of a text or system of thought is fundamentally related to the critic/commentator's experience of the text or system of thought understudy, they have approached the study of the structure of experience from a phenomenological perspective. After this, they have tried to examine Viroli's text on the basis of this method and to find out how the author of the book has focused on reorganizing the meaning of Machiavelli's "The Prince" on the basis of a new understanding of the Idea of Prince as a redeemer.