The history of symbolism indicates that any subject can reach the value of symbol, provided that suitable space and field for expansion an infinity of its meaning should be available. In literature symbol is one of the images that is the most dynamic and influential type of images, and according to its polysemy character causes the extension and dynamism of the POEM universe. Given the importance of symbolism in MODERN POEM and its place in under landing the meaning and concept intended by the poet, in this paper we follow this question that in what methods the symbolism in MODERN POEM is done? By the study and analysis of some poets of MODERN POEM and comparing their symbols, it was clear that the symbols in the context of MODERN POEM are used in three ways: (Micro-symbol, Macro- symbol, Organic-symbol) and among them, the organic-symbol is specify related to MODERN POEM.

MODERN (theoretical) physics seems to be in deep crisis today as many of its core aspects are not empirically well-confirmed. Heated exchanges among physicists on the scientific status of physical theories with little or, at best, a tenuous connection to possible experimental tests is highly visible in the popular scientific literature. Some physicists (e.g., Carroll 2014, 2019; Ijjas et al., 2017) argue that science must discard empirical testability as one of its defining properties and the highly explanatory theories of present-day physics should be exempted from experimental testing, while others (e.g., Ellis & Silk 2014) spot in these arguments (for softening the testability or falsifiability requirement for MODERN physics) a dangerous tendency to undermine science. The philosopher of science who naturally draws most attention in these current debates is Karl Popper (1902-1994). His views, however, are often misrepresented in these debates. The prime objective of this paper is to explain how a more enlightened perspective on the ongoing debates can be obtained by a careful scrutiny of the Popperian criterion of falsifiability. As a first step in achieving this objective we will analyze the two major (conceptual) failures on which the current controversies rest. Our next step will be examining the controversial string theory to see whether the criteria of falsifiability is a ‘blunt instrument’ for determining its scientific status.

In this paper, we aim to analyze the difference between classical Persian and new Persian POEMs using the current cognitive linguistics theories. The study aims to recognize the differences and similarities of the image schemas of two styles of poetry; namely, classical and MODERN POEM. The research question is that what kinds of different image schemas are used in classical and MODERN POEMs. The hypothesis is that there are different kinds of image schemas in classical and MODERN POEM. To this end, we analyze the image schemas of Hafiz's POEMs as sample of classical poetry and Sohrab Sepehri's POEMs as MODERN one. We have chosen 13 POEMs of Hafiz Divan as classical POEMs and 8 POEMs of Sohrab Sepehri's Hasht Ketab as MODERN Persian POEMs. We have identified the image schemas of the POEMs based on cognitive linguistics theoretical framework. In the review of literature, there were some researches which focused on the comparison of the poetry of classical poets or comparison of the poetry of contemporary poets, but there was no research which compares image schemas of classical poetry with MODERN POEM. Thus, the present study focuses on a new aspect. In conclusion, we noticed similarities and differences in the usage of image schemas of two styles of POEMs. The similarity is that in both styles containment and locomotion schemas are most used. But the difference is that in Hafiz's POEMs there was no significant difference between the number of locomotion and the number of containment schemas. However, there is significant difference between the number of containment schemas and all other schemas including locomotion schema in Sepehri's POEMs. It indicates the difference between a sample of classical POEM and a sample of MODERN POEM along with the usage of image schemas. Due to their mystic worldview both of poets have used containment and locomotion schemas.

This article discusses two subjects: the first, common causes which effected on the literary renaissance, the second, the literary social common views which appearance in the MODERN poetry in Iran and in the Arad world.In the first subject, we find this common causes, political and social awakening, to disagree with their kings, learning the European literature, the establishment of the magazines and etc…. In the second subject, we have told about the new different subjects in the MODERN Arabic poetry and in the MODERN Persian poetry, for example: national POEM, did active POEM, and moral POEM, social POEM and public POEM and etc….This research shows that there is the expanded common subject between Arabs and Persian nations in their literary renaissance.

Sultan Ibrahim Mirza (April 1540- February 1577) was the son of Bahram Mirza and the grandson of Ismail I. His father, Bahram Mirza, was the youngest son of Ismail I and along with Shah Tahmasp I, had two other brothers named Elqas Mirza and Saam Mirza (the author of Tohfe-ye Saami). Around 1562, he was appointed the governor of Mashhad and kept the position for the rest of his life. The present paper attempts to introduce his POEM (regarding the Edit of manuscripts) and have a look at his art of poetry. The only remaining work of his is a POEM is registered and being kept in the library of Kakhe Golestan under the entry number 2183 and line number 139 with its pages 337 to 340 of the first volume in the section assigned for POEMs under the name Djahi POEM (the poet's pen name). According to some scholars, his POEM included some 3000 verses (Khulasat al-Tavarikh, p 110). The POEM available now has 993 verses 859 of which are in Persian and the rest are in Turkish. It includes a prose introduction, 8 odes, 90 sonnets and 58 quatrains along with some Turkish POEMs. This POEM is collected by Sultan Ibrahim Mirza's daughter, Lady Goharshad, in 1581, five years after her father was killed by Ismail II. This selection is extracted and compiled from among all his POEMs by his daughter and her poetic taste. His POEMs are abundent with praising prominent figures in Islam and Shiite including the holy prophet, Muhammad (PBUH), Imam Hussain (PBUH) and Imam Reza (PBUH), orientating on events, caring about the beloved, mystic concepts, historical points and vainglory. His poetry is simple, fluent and effective.

Takikestan is a part of great Khorasan. Khorasan was birth place of grate men of science and literature of Iran, such as Rodaki, Naser Khosro and Roomi, and now separate from the principal, despite of all the hardship they endure the contemporary centuries, people still organize POEM, teaching classic POEM style and also lyrics, this article has attempted to examine the contemporary poetry of Takikestan and overview of development of contemporary POEM and poetry of this land considered.

The article aims to introduce the POEM “Ghazavat” (غزوات), a work by the Safavid scholar and poet Mirza Abu Taleb Fendereski. Notably, the work is an independent POEM while all the sources in the Persian literary history have identified it as Takmale-ye Bazel-e Mashhadi’s Hamle-ye Heydari (تکمله حمله حیدری). The article explains reasons depicting that it is not a complementary work ((تکمله.

In this article, with the title of "city and POEM" the author tried to present the place of city and related sciences of it in contemporary literature. The purpose of this writing is searching of some viewpoints of poets about city, structures, outputs and various revenues, because the poets like the other citizens have the right presenting of thinking and their belief about the living in the city and their settlements. Therefore, it was tried, for the basis of descriptive and analytical method, to do the composed consultation from literature and urban planning in different titles such as "city, social ecology and poets", "city, architecture and poets", "city, migration and poets" and etc. The writter is hopeful that city makers, architectures, city planners and all experts in city fields to investigate deeply in belief and thought of this group of citizens in architectural style, management and planning. The writer is also hopeful that they respect to the wishes and needs of this group of citizens whom they are the expressive language of other citizens.

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Realism is one of the artistic schools which first emerged in Europe in the mid of nineteenth century. realism believes in the novelty of the reality and the world beyond the mind. It remarks the reflection of the reality experienced by humans in specific time and place. Since realism is the direct expression of individualities and its effect is achieved from the consecutive relationships among humans and the society around them. Analyzing the realistic works of poets can indicate their personal and social outlooks. Mehdi Akhavan Sales is among the poets who ponders the realities of his contemporary society. This research is based on the analytical – descriptive method to recover the realistic components in the POEMs of this poet. The findings show that the realistic implications have been revealed symbolically in his POEMs. Thus, all his POEMs are arranged in a symbolic pattern. However, realism has been partially reflected in the stanzas of his POEMs. The outlook of Akhavan Sales to the realistic components is a socialistic and social one. Meanwhile, cruelty, fight, poverty have been realistically presented in his POEMs. Death is the most frequent component in Akhavan’ s POEMs.