In this article we intend to reply these question according to the versions at Yusof & Zoleikha Masnavi.- Who is Nazem Heravi and which era has he lived.- How is the situation of his poem.- What are the style traits and the components of making style of this poem.- What are the poet's innovations and skills in this Masnavi.- How is the valuation of them.The "Yusuf and Zoleikha" of Heravi is a lovely Masnavi which is followed by Abdul Rahman Jami has been song. This Masnavi vocalist – Molla Farokh Hussein Heravi – is pseudonym "Nazem" is one the 11 th poets who has lived in Herat and has high prestige in that region.The said Masnavi has been published yet and it's all transcripts are in Tehran University libraries, Astan Ghods Razavi and decedent Malek library.

Kholasat ol-Maqamat is a manuscript on spiritual stations of famous mystic and Sofi, Sheikh Ahmad Jam. This manuscript has been written by Ab ol-Makarem Ibn Ala’ ol-Molk Jami, one of Sheikh Ahmad's descendants, in the time of Shahrokh Mirza’s reign (840) to whom that manuscript was presented.The style of this book is similar to that of Asrar ot-Towhid and as it appears from its name, it is a concise of some books on maqamat written in Sheikh Jam's time.Therefore, maqamt is a name applied generally to papers written about spiritual stations of special characters. Historically, it so happened that this work probably belongs to Sheikh Ahmad's time, because at that time or afterwards some books have been written on his spiritual stations which we will point out. We believe works of this kind which has been written afterwards, such as Asrar ot-Towhid on Abu Saeed' s spiritual stations are affected by the method of maqamat-writing in the time of Ahmad Jam, and Kholasat ol-Maqamat is an anthology of early works on this subject.

BACKGROUND AND OBJECTIVES: The poem "Chenisernameh" is a perceptive work of Biglari, one of the poets of the 11th century of Hijri. This work, like other lyrical poems, with the theme of earthly and mystical love, although it was written under the influence of Khosrow and Shirin Nezami, but it is not devoid of STYLISTIC and individual poetic creativity. This system has not been noticed by researchers in terms of style. In this essay, while introducing this work, the main goal is to introduce its linguistic, literary and intellectual features. METHODOLOGY: This research was done to collect library data and information with a descriptive-analytical approach. The statistical community of all the poems of Chenisernameh is around 1000 verses. FINDINGS: The findings of the research indicate that Biglari, the composer of Chenisernameh poem, tries to write a love story in the fictional space of Indian lyrical literature by modeling the poem of Khosrow and Shirin Nezami. The STYLISTIC CHARACTERISTICS of this work, despite the fact that it entered the field of order in the 11th century, but it reflects some of the STYLISTIC features of the Iraqi style. CONCLUSION: In the perceptive language style of simple words, without emphasis, Arabic words, Indian words and words, arrays such as detailed simile, irony, repetition, phonetic arrangement, puns, exaggeration, hint, etc. Has used a very simple and understandable limit. In the style of this work, it is simple, easy to understand, and away from special complexities and strange metaphors. In his intellectual style and description of romantic scenes, Biglari has paid much attention to the system, although traces of religious and mystical themes can be seen in the ending of the story regarding the lack of attachment to the world and avoiding whims and unstable loves.

From the first period of Persian poem-which started from first decades of 9th century and continued to the end of this century-survived just 64 verses (Poets: Hanzley-e Badgheysi, Mohammad bn Wasif-e Sagzi (from Sistan), Bassam-e Kurd, Mohammad bn Mokhallad, Mahmud bn Warragh, Firuz Mashreghi, Abusolayk-e Gorgani and Shaker-e Bokhari (from Bokhara) which Gilbert Lazard in the oldest scattered Persian poems collected them. In the paper, have presented different definitions of style briefly, and eventually analyzed in the epoch style point of view, means the similar and specific characteristic in an epoch as frequency. The paper tries to study these poems as three points of view (External form, Internal Form, Subjective Form) and the results presented as frequency and in static charts.

This article aims to investigate the mental layers of Attar Neishaboori in expressing the whole person to show how he owned a unique and personal style. Accordingly, four elements are introduced as the CHARACTERISTICS of a personal style which cannot be observed in other texts such as those in Attar's works. These four STYLISTIC CHARACTERISTICS include the Secretive Similes, the Hoopoe's Secret as the Old Way and the Journey of No Return, and, finally, the Comparison of Places and Attar's Seven Cities of Love, as the places of a perfect man, with Masnavi Manavi of Molavi. Undoubtedly, Attar Neishaboori is one of those who created valuable masterpieces in the Persian literature by using a specific language stemming from his genuine thought, and this respect, he is considered one of the main fundaments and founders of the Persian literature. This personal style is the outcome of a specific selection of vocabulary, jargons, phrases, and ways of expression that are different from linguistic arbitrariness and literary traditions. In fact, this selection stems from a new perspective and attitude toward the being and life. Attar is an author who defined the perfect man differently and thoroughly and expressed the perfect man's CHARACTERISTICS by the new selection of language literary terms which reflect his prominent thought, and based on this thought, he founded a personal style.

Sepideh Kashani is regarded as one of the devoted poets of Islamic revolution and the imposed war, whose life, poems and thoughts are considerable from perspectives of presenting theological and revolutional remarks, resistance literature, the sacred defense and also reflecting Islamic revolution incidents and war’s. In this article besides introducing Sepideh and her literal writings we have tried to firstly, study her poetic period and then her STYLISTIC CHARACTERISTICS from aspects of: poetic styles, literal and rhetoric remarks. And then we will discuss about the thematic and conceptual analysis of her poems.Most literal writings of Sepideh are in verses that have been published along with her only prose work. Although her poetry style is mostly neoclassic, her poems are written in traditional poem style as well as Nimai poem style. Sepideh’s poetic period is divided into two phases: before the revolution and after the revolution. And political and social incidents of the both phases, specially the second phase have strongly influenced her works.Sepideh is generally poet of her own time, and she is devoted to the revolution, the sacred defense and Islamic values. Although her poems are almost significant for conveying messages and expressing themes and concepts, contrarily to most poems of revolution poets, her poems present imaginary features and rhetoric. The main themes and concepts of Sepideh’s poems are: negligence conflict and invitation to awakening, waiting for the promised, Emam Hosseins Epic, martyr and martyrdom, resistance literature, the war, theology instructions, justice, eulogizing Mohammad the profit and his family, exalting religional and revolutional characters, elegies, the concept of life and death and etc.These cases have been researched and studied by analyzing Sepideh’s poems, life and thoughts and also by making use of other researches and scattered writings on this subject.

Satire is one of the sub-categories of lyric literature, which due to the dominance of ethical criticism, has not as yet received proper attention. This study has addressed the most important STYLISTIC CHARACTERISTICS of Suzani’s satires examining them at linguistic, literary and intellectual levels. However, attempts have been made to avoid mentioning verses in which obscene and repulsive expressions have been used. The research method adopted is descriptive-analytical, and the findings are examined by applying the technique of content analysis in the manner of library and document search.The results indicate that Suzani’s satires are mostly personal, indirectly sardonic and unrealistic. Further, his use of Qur’anic references demonstrates that his knowledge of Arabic and Qur’anic sciences was mediocre. His language is not polite and, instead of competing against his opponent’s poetic art, he chastises his physical and temperamental qualities.

BACKGROUND AND OBJECTIVES: Sadegh Hijri Tafreshi is one of the wise but unknown poets of the Fitrat period and one of the pioneers of literary return who lived in the late Safavid and Afshari periods. Hijri's divan consists of masnavi, ghazals, pieces, an ode praising Imam Ali (AS), quatrains and singular lines (mofradat). In this article, we have tried to examine the style and content of the poems from three perspectives: intellectual, linguistic and literary. METHODOLOGY: The present research is a theoretical study that has been done in the style of documentary research. Manuscripts of Sadegh Hijri Tafreshi's poems which has been collected from different libraries by the efforts of the researcher is the research scope and population. FINDINGS: The poetic features of Hijri Tafreshi are such things as beautiful images, masterful use of figurative language, selection of different meters, use of verbal radifs that enrich the poetry and perfection of rhyme concept, as well as proper and poetic use of figurative language in the field of rhetoric and novelty. CONCLUSION: By analyzing the style and content of Sadegh Hijri Tafreshi's poems, he can be considered as one of the eloquent poets of the return period following the poets of his predecessors and confirmed his success in reflecting their intellectual, linguistic and literary structure in his poems.

1-Introduction Reduplication, a morphological process in which the root or stem of a word (or part of it) is repeated (Inkelas, 2006: 417), is divided into two types: a) total reduplication and b) partial reduplication. This research attempts to explore total reduplication in Persian. The question is that to what extent reduplication can be used as a criterion to specify the literary style of an author. To this end, two masterpieces of contemporary Iranian literature were selected: Buf-e kur by Sadegh Hedayat and Savushun by Simin Danshvar. Reduplication type and their frequency were specified and compared in these two masterpieces. 2-Theoretical Background "Sabk" (style) is an Arabic word meaning smelting and forming of gold and silver, and in literature, it refers to the special use of language in poetry and prose (Iranzadeh, 2011: 2). In fact, style is a way to reflect the author’ s inner feelings, ideas, and thoughts (Parandoji, et al, 2014: 36). Shamisa (1993) emphasizes the artistic value of repetition; He maintains that the sound of rain is relaxing and soft because of its alternate repetition, while irregular sound with no music is boring. Leech (1981) believes that “ style is a way to use language in a certain context by a certain person for a certain goal” . He introduces four criteria to specify the linguistic style of a literary work: lexical classification, syntactic classification, verbal array, cohesion, and context. Regarding all of them, he raises questions including: Are the words used by the author formal or informal? Has the author used special words? Are nouns concrete or abstract? What is the semantic function of adverbs? Which literary tools have been used by the author to transfer meaning to the audience? Is there a logical relationship between the elements of the work? Elements involved in analyzing the style of literary works are: a) word choice, b) morphological and grammatical features, c) frequency, d) semantic features, e) repetition, f) verbal context, h)congruence of letters and other sound patterns, i)allusions and metaphors, j) mode of expression and special view and the way of applying language features, k) deviation from the norm, etc. (Iranzadeh, 2011: 12-15). 3-Data analysis Total reduplication is of two types: a) total proper reduplication and b) total improper reduplication (Shaghaghi, 2012: 99). In total improper reduplication, the base is repeated completely. This process involves adverbs, nouns, adjectives, pseudo-sentences, onomatopoeic words, numbers, adverbial clauses, and sentences. Reduplicating adverb has been used by both Danshvar and Hedayat. Both of them, especially Danshvar, have used total improper reduplication in their stories. Danshvar has extensively used reduplication of onomatopoeia in her novel (Savushun). Onomatopoeia words represent a natural relation between sound and meaning. They are tangible and perceptible and authors can express their feeling by using them (Vahidian Kamyar, 1996: 10, 38). Being tangible and perceptible is one of the features of realistic novels including the realistic novel of Danshvar. She expressed and showed her feelings using onomatopoeia. Since Hedayat’ s style and language is different from those of Danshvar, just one onomatopoeia word has been used in his work. Hedayat’ s language in Buf-e kur is descriptive, he has used abstract concepts, and these features make his novel Surrealistic. Danshvar has more frequently used reduplication of adverbs and onomatopoeia than adjectives, nouns, pseudo-sentences, numbers, and adverbial phrases. In Hedayat’ s novel, reduplication of adverbs has a high frequency while other categories are either rarely used or never used. In total proper reduplication, in addition to the repetition of the base, there is a grammatical morpheme that occurs between the two bases or after the second base. In total reduplication with middle attachment, prepositions such as »be, ta, dar, tu, bar« (to, until, in, on), the enclitic /o/, the interfix /â /, and /vâ /(and) are used (Shaghaghi, 2012: 99-100). Total reduplication with middle attachment is diverse in Savushun and Buf-e kur. The preposition »be (to)« is the most commonly used, whereas others are rarely used. Samples of Buf-e kur such as "ruz be ruz" (day-by-day), "saat be saat" (hour-by-hour), and "daghigheh be daghigheh" (minute-by-minute) suggest that this pattern is mainly used in the cases in which the concept of time is involved. The narrator uses the notions of minute and hour for the continuation of his story. In fact, Hedayat's travel back and forth between the inside and the outside has resulted in the use of reduplicated adverbs of time, so that he can persuade his reader and help her/him to understand time by narrating the story minute-by minute. In total reduplication with final attachment, suffixes including "â n, ak, aki, u, i, e" attach to the second base (Shaghaghi, 2000, 526-527). This type of reduplication is less frequently used compared with others. The most significant STYLISTIC feature of Savushun is using reduplications such as: "holholaki" (with haste), rastrastaki (in truth), and so on. These kinds of adverbs are mostly used in informal and colloquial Persian. In these two masterpieces, a total of 99 cases of reduplication were found; 71 cases in Savushun and 28 items in Buf-e kur. In Savushun, 42 items showed total improper reduplication and 29 items were total proper reduplication. In the latter pattern, 18 items were total reduplication with middle attachment and 11 items were total reduplication with final attachment. In Buf-e kur, 16 types of total improper reduplication and 12 types of proper reduplication were seen, out of which 9 had an interfix and 3 had final attachment. The analysis of data shows that in both works the frequency of total improper reduplication was higher than total proper reduplication. In Savushun, the number of reduplicated words comprised 71% of the total, but in Buf-e kur, it is 28%. We can, therefore conclude that the author of Savushun has used this linguistic tool more frequently; so it is considered as a STYLISTIC feature. 4-Conclusion In this research, the use and frequency of total reduplication were investigated in Savushun and Buf-e kur. The results show that total improper reduplication of adverbs in both novels has the highest frequency though Danshvar has used this linguistic tool more than Hedayat. Reduplication can, therefore, be regarded as a reliable criterion to specify the literary style of an author. The style of Danshvar’ s writing is realistic, so her language is informal and colloquial without any complexity, while the style of Hedayat’ s writing in Buf-e kur is surrealistic. This difference in these two novels, therefore, has a significant effect on the use of this linguistic tool.

Improving participation in voluntary activities in Iran is important because increasing productivity among young people, given the country's young population, contributes to community sustainability. Therefore, a better understanding of volunteer motivation in Iranian youth is needed. The Volunteer Functions Inventory (VFI) for assessing volunteer motivations has good psychometric properties and is adapted to several languages, but no validated Iranian translation yet exists. The purpose of this study was to investigate the psychometric CHARACTERISTICS of voluntary functions inventory in members of Iranian Red Crescent Society. Sample size was 595 members of Youth Organization of Iranian Red Crescent Society from 31 provinces and 175 cities of Iran that were selected by multi-stage cluster sampling method and responded to voluntary functions inventory. Data were collected using a demographic sample and voluntary functions inventory (VFI). Confirmatory factor analysis using principal components method was used for data analysis. The results of the present study showed that the voluntary functions inventory had validity and reliability. Also, the factor structure showed that 29 items and 6 factors well assess people's attitudes to volunteering, and the structure of this inventory was well-fitted and confirmed all goodness of fit models. The present study provides the use of the Iranian translation of the Voluntary Functions Inventory (6 scales and 29 items) to assess volunteer motivation among young Iranian volunteers.