This study focuses on the investigation of intelligent form-finding and vibration analysis of a triangular polyhedral tensegrity that is enclosed within a sphere and subjected to external loads. The nonlinear dynamic equations of the system are derived using the Lagrangian approach and the finite element method. The proposed form-finding approach, which is based on a basic genetic algorithm, can determine regular or irregular tensegrity shapes without dimensional constraints. Stable tensegrity structures are generated from random configurations and based on defined constraints (nodes located on the sphere, parallelism, and area of upper and lower surfaces), and shape finding is performed using the fitness function of the genetic algorithm and multi-objective optimization goals. The genetic algorithm's efficacy in determining the shape of structures with unpredictable configurations is evaluated in two distinct scenarios: one involving a known connection matrix and the other involving fixed or random member positions (struts and cables). The shapes obtained from the algorithm suggested in this study are validated using the force density approach, and their vibration characteristics are examined. The findings of the comparative study demonstrate the efficacy of the proposed methodology in determining the vibrational behavior of tensegrity structures through the utilization of intelligent shape seeking techniques.

The main issue of this research is to identify the intellectual, cultural and political depths of the book of Asar Al-Wozarah's works, written by "Sif-aldin Haji-'bn Nezam Aghili" as one of the examples of Persian ministry writing in the Timurid period, by analyzing the light layers of this text. The results of this research, which was done by combined research method (analytical-descriptive-argumentative), are as follows: In the linguistic layer, the presence of high-frequency moral codes, lack of indexes and more use of sensory words make the text the main goal of ministry writing. The descriptions of the ministers and their works and the mention of details on the subject of bureaucracy have been omitted,In the syntactic layer, more use of the news aspect, simple sentences and short sentences have added to the certainty, clarity and speed of the narration in the text,In the rhetorical layer, the author has not made significant use of rhetorical tools,At the pragmatic level, expressive / declarative action takes place in the first place and persuasive action in the next stage, and shows how the author has used these two actions to recognize the values that govern his value (moral / ideal) views. Aqili's main purpose in processing this text, rather than compiling a historical / political text with the coordinates of the Ministry is to write an educational and ethical work with an approach. Encouraging moral virtues has been by emphasizing the instability of the world and reflecting human actions in his destiny by relying on the concepts of justice and resurrection.

No doupt that the Qur’anic expression contains secrets and aesthetics and artistic touches and images which show that the Quran art intended to support this opinion that it isn’t people speech.So, this research is going to study Sura “Sad” using a stylistic approach, which focuses on data General Linguistic and deals with the role of image and music sounds and vocabularies in Sura, and stadies semantic features of words and the accuracy of vocabulary selection in the sura and tracking stylistic phenomena in the sura and the meanings associated like repetition, and the question, and interested in Images, based on analogy and metaphor, and real images.Based on the results of this study, it has been proved that balance intended in the rhythm of Sura like repetition is an important element in increasing the pace of this beautiful one chapter, in addition to the consistency of these voices, and that the words in sura characterized by precision in the choice and the power of influence in the recipient and that the technical consistency has emerged between the different images and rhetoric of the real clearly.

Over the tenth and mid twelfth Century, Persian prose experienced a noticeable transformation toward being degraded and inferior. Meanwhile, AbulFazl Allami, being the first to address the issue, began to reform and change the style of prose. He was aware of the Persian language and works of predecessors and, accordingly, got away from Safavi prose. Precisely, he had shifted to Iraqi style and created an innovative format called AbulFazl’s style". The Current paper aims at investigating Allami’s style and his prominent and frequent features via layered stylistics at five levels comprising; phonetic, lexical, syntactic, rhetorical, and intellectual. Having in mind that possessing a mixture of old and new features is one of the most important Characteristics in Iraqi style, Abulfazl's style is a combination of technical and simple prose, considering the predominance of simple prose. His avoidance in using secretarial tasks and artifices in phonetic and rhetorical levels has made his prose simple, and it is quite noticeable that the only weakness of his composition is the dominance of some grammatical defects in some points of his prose which was related to this period. From the intellectual point of view, the ideology of total peace, as the intellectual color of the correspondence, can be referred to as a decisive aspect to his prose. This intellectual feature, alongside Persianism and lexical combinations, which is the main feature of Allami’s prose, has made his prose unique. Therefore, Abulfazl's style can be characterized as a new thinking style and distinct from the existing style of the era. This article, by presenting the reflection of the Alsat verse in the book Fiehmafieh, by showing some of the key topics associated with this one in the mentioned book, explains the difference in the style of this work with the Masnavi Ma'navi and Diwan Shams.

One of the greatest Persian language spokesmen in Indian Gourkanian court, who reach the poet laureate of Jalaleddin Akbar (14th-15th Centuries) and known him the greatest Indian Persian language poet after Amir Khosrow Dehlavi, is Abolfeiz Feizi (14th-15th Centuries). Like Nezami’s other followers, he imitated Leili & Majnoun and wrote, as well as other works, the romance of Nala & Damayanti in the same rhyme in 4200 lines in the 15th century. It is a rhymed translation of freedom by Mehabeharat. In this story, he included religious, mystical, lovely, philosophical, and other concepts. In this research, we study the stylistic specifications of this collection in three lingual, literary and intellectual levels.

This essay is a note on a stylistic speciality of Ghabous Nama that is, making pleasant maxims with the centrality of term “Dovvom” (the second). This speciality among the precursors and late comers is apparently restricted to O’nsor al Ma’ali and because of this intimacy and rarity has a multiplied worth. Inspite of rareness, this repetitious structure has been such accepted by the Persians temper that some parts of its samples have been mentioned as recurrent maxims in Maxims and Wise Sayings of defunct Dehkhoda.

Arabic pastiches are poems by which their composers imitate the brilliant previous poems according to their rhythm, rhyme and content; and throughout the long history of the Arabic literature, they enjoyed very-various styles with the invention occasionally. So the stylistics, arising from the Structuralism, can study them by its analytical methods which include the rhetorical, rhythmical, and intertextual aesthetics.The present article modestly tries as far as possible to apply one of these methods on an ode of the seventh century and its imitator of the fourteenth century.

Gheysar Aminpour (1959-2007) is one of the greatest and most influential poets of the period of the Islamic Revolution of Iran. A stylistic study of his poetry emphasizing his rhetorical innovations is the subject of this present article. His poetry is very valuable from the rhetorical point of view and has added to the capacities and power of the Persian language. Three important rhetorical and stylistic elements in the poetry of Aminpour are: wordplay, paradox, and brevity. There are a variety of wordplay in his poetry that are discussed in this article. Many of his wordplays are new. Paradox also, in terms of variety and frequency, has been studied in his poetry. Various factors of brevity in his poetry include: wordplay, symbolization, design-like poetry, short narratives, benefiting from quatrain and couplet structures, and reducing the lines of the sonnet. Aminpour has succeeded in integrating the stylistic and rhetorical features of classical and Nimaesque poetry within his own new and classical poetry. One of the factors that ultimately causes his outstanding style is innovations in the mentioned rhetorical elements and an insight into the poetic expectations of today’s audiences.

BACKGROUND AND OBJECTIVES: Layered stylistics is is a layer of applied stylistic methods that examines the text in five layers: phonetic, lexical, syntactic, rhetorical, and ideological. This type of stylistics, based on the foundations of traditional stylistics, pays attention to the content, ideas, perspective, and even the creative space of the work. In layered stylistics, the text is broken down into micro-layers, considering the situational context as the macro-layer, and the style is studied by examining the textual micro-layers and obtaining characteristic features. According to this approach, Aja’ib al-Qasas, is analyzed in five layers: phonetic, lexical, syntactic, rhetorical, and ideological. By recognizing the prominent stylistic characteristics and their position, the relationship between the text and the content is understood. METHODOLOGY: This research, using a descriptive-analytical method and using library resources, has attempted to examine the style of Aja’ib al-Qasas from the perspective of layered stylistics. FINDINGS: Aja’ib al-Qasas is a work in the field of religious history written in the 10th century by Abdul Wahid Muhammad Mufti in the Indian subcontinent. The work, far from the usual formalities of Timurid prose, is known as an example of intermediate prose and the author has been trying to pay more attention to the expression of meaning than to rhetoric and to create original prose. For this reason, his prose is considered to be stable and significant compared to other written works in India during this period, especially in the subcontinent. CONCLUSION: The result of studying this work from the perspective of layered stylistics shows that the author tends to use literary devices naturally to create the inner music of the text, and the frequency of phonetic changes, assonance, and repetition is higher. In the syntactic layer, the dominant syntactic structure is in accordance with the common structures of Persian grammar. Of course, sometimes the sentence order changes according to the author"s thought. In the rhetorical layer, tangible analogies, easy-to-find allusions, and assurances have added to the literary quality of the text. Literary devices serve to convey meaning and have not been used only for the sake of beautifying the text. In the lexical layer, considering the subject of the text, the author"s priority has been to convey concepts. The words maintain their main function and do not confuse the audience in understanding the meaning. In terms of ideological content, the intellectual system that governs most of the stories of the prophets in this work can be seen, which consists of describing the story of creation, love, religious law, reason, and moral principles

BACKGROUND AND OBJECTIVES: In literary texts, there are specific artistic capacities in the way potential linguistic resources are employed at various layers. One method for systematically examining and critiquing these linguistic possibilities is layered stylistics. According to layered stylistics, language consists of two layers or levels: surface structure and deep structure. Surface structure encompasses all information related to the phonetic manifestation of the text, while deep structure includes all information related to meaning. With this approach, we analyze and examine the phonetic, lexical, and syntactic layers in the domain of structure and form (surface structure) and the ideological and rhetorical layers in the realm of imagination and theme (deep structure) of the manuscript "Khutab. " METHODOLOGY: In this study, we have described, analyzed, and explained the phonetic, lexical, syntactic, ideological, and rhetorical layers of the handwritten version of "Khutab" using a descriptive-analytical method with a layered stylistics approach. FINDINGS: The book, in terms of surface structure, exhibits characteristics of a hybrid prose style. The stylistic type of the book is of the Transoxanian (Mawarannahr) kind. Lexically, considering the realistic nature of the text, the author has not directed the words in a specific way in conveying his concepts, nor has he caused the audience to ponder and reflect on the meaning. The syntactic structure of the work is a diverse collection of conventional and fluent structures in the Persian language, where the order and precedence of components depend on the speaker"s thoughts. The ideological and intellectual characteristics of the text reflect the prevailing thought system in the Sufi texts of the sixth and seventh centuries, with a focus on the contemplation of death at the center of this intellectual framework. The literary devices employed in the book have more of a discursive and persuasive approach than a decorative and aesthetic one. CONCLUSION: The main factor in the variations and phonetic differences of the "Khutab" version is the geographical region. The type of vocabulary used in the text has a specific correspondence with the type of thought and mental concepts of the speaker. The arrangement of the components of the sentences in this book reflects the author"s mental continuum and the logical continuity and sequence of thought and expression. The dominant theme in the author"s mind and imagination is contemplation of death. Among the literary devices, there is extensive use of figures of speech. The most prevalent figures of speech are sensory similes, which illustrate the connection between form and content.