The responses of impeccable Imams to the question of entering the world into an egg, without changing the volume of both sides, are among the problematic narratives in the field of monotheism, the interpretation of which may be considered as knowing the impossible rational matter by using the analogy of entering the image of objects into the eye, which is not consistent with the content of the original question; the issue does not end there and receiving conflicting dual answers from the Imams to the same question and considering this matter as impossible, are among the other challenges in dealing with this category of hadiths. The present study has used a descriptive-analytical method to explain these hadiths and has found that scholars only accept the apparent indication of the narratives, considering this matter as impossible, and interpret or deny the narratives that have addressed the problem through a metaphorical representation of the world entering the eye. On the other hand, one can interpret some narratives that indicate the possibility of this matter by making changes to both sides and remaining silent, and present a new interpretation based on the theories of "Holography" and "Removal of Empty Space of Atoms" in contemporary sciences, in a way that it can be considered as a solution to resolve the contradiction. In fact, the Imams have sometimes given a precise and real answer to the narrators' current state and needs, and sometimes a metaphorical and tacit answer, so that neither the scholars remain ignorant of the truth nor a pretext for denying the power of Almighty God is created for the ignorant and the opponents. Therefore, merely benefiting from a strange appearance of a narrative or initially understanding it in conflict with reason, knowledge, epistemological geometry, etc., is not a sufficient reason for rejection and denial, and a precise understanding of the hadiths requires multidimensional studies that taking into account the knowledge of contemporary humanity can be one of the requirements that can change the world of hadith understanding.

This article, to some extent a response to Edward Saids Orientalism and Culture and Imperialism, concentrates on the dialectical attitudes towards the Orient in a number of English literary texts. Through a contrapuntal Textual analysis, signs emerge of a stereotypical and often monolithic Orient represented within the framework of dominant discursive practices. Similar discursive practices also seem to influence a significant number of contemporary scholars and critics active in the field of English literature. This raises many questions concerning the binary opposition as well as what Bhabha terms the ambivalent relationship, between the West and its Other: is the portrayal of the Orient a relatively static or monolithic feature, and is it continually seen as a potential threat through transculturation or hybridity? These questions must be pursued in the context of the ideological position of both the writers themselves and the Orientalism of critics and theorists.

Contemporary poets have used different types of traditional texts to deepen their poetic views and influence the poetry on the audience; The texts that relate to the religious, literary, mythical, and folkloric tradition, and with an influential function, put the legacy of the past on a modern design. These sources and origins, called "Textual heritage", are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of these texts in traditional rhetoric with various names such as" Guarantee", " Allusion"Adaptation" are discussed and nowadays "InterTextuality" is one of the important issues of literary criticism. Safarzadeh is a contemporary poet who has benefited from Persian literature and literature, and in addition to the poet, translator of the Holy Quran and Nahj al-Balaghah, his influence on religious texts, especially the Quran, is further illustrated. The present research has responded to this main question by descriptive-analytic method. How much and how much is the use of Safarzadeh from textural heritage? The findings show that, considering the familiarity with religious and literary texts, he has deepened and enriched his poems, and on this basis his poetry is full of religious and mythological texts. Introduction The literature of every frontier and canvas, in addition to representing the artistic and literary minds of poets and writers, reflects the thoughts, knowledge, teachings and legacies left by the ancestors, and we here refer to them as "Textual legacies. " Named; the legacy of contemporary poets makes a lot of profits to deepen their poetry and influence the audience; These texts, which depend on the area of literary tradition, religious tradition, mythical and folkloric tradition, can have an influential effect on the development of Persian new poetry, and contemporary poets have been dependent on artistic taste and ability to acquaint themselves with these sources; To deepen and enrich their poems and to make the legacy of the past by the new ones. And "it seems that whatever the poet and writer has a broader cultural backing, his poems and writings will be more productive and more vivid in this view" (rastgoo, 1395: 116) These sources and origins, here called "Textual heritage", are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of Textual legacy is more or less the same as in the traditional rhetoric with the names of guarantee, adaptation, telemechanism, and so on, with the name of interTextuality, is one of the major issues of literary criticism today. "According to the interTextual rule, the horizons of the reader's interest in the text and the meaning it receives are related to the texts previously read. On the other hand, interTextual relations act as interconnecting rings of components, and every text from the beginning of its creation is in the realm of power of other texts that have been created before and impose a special atmosphere. "( Khalili Jahantegh, 2007: 6) Research methodology The present study, by descriptive-analytic method, examines the extent of influence of Tahereh Safarzadeh on traditional texts in four levels (religious-literary, mythical, and folkloric), and how it determines how much and from which The textural legacy has been used in the fertility and prosperity of its poetry Discussion On the one hand, and the importance that literature has in the literary critique of today, the particular influence that literature has on people's thought and culture, on the other hand, reveals the importance and necessity of examining contemporary literature from an interTextual point of view. Tahere Saffarzadeh is one of contemporary poets who, by carefully reading the traditional texts and using them, transforms his poems into a full mirror of textural heritage; in otherwords, he uses the art of ancient literary heritage and acquaintance with religious texts, especially the Holy Quran He has tried to deepen and enrich his poems and make the legacy of the ancestors build and present fresh things to the present. This research intends to reveal the hidden angles of his literary text by analyzing and analyzing the interTextuality in Saffarzadeh's poems, and to provide the ground for more readers to use his poems. What makes the necessity and importance of examining traditional texts in Safarzadeh's poem more than before Shows that so far there has not been an independent and significant study on this issue; although papers and theses on his influence have been written in the Holy Quran, but since other legacies such as: Nahj al-Balaghah, hadiths, ancient literary texts and. . . His poetry has not been analyzed and analyzed The place for such a comprehensive study is still empty. Conclusion In this research, the use of Tahereh Safarzadeh as one of the outstanding contemporary female poets of the textural heritage (religious-literary-mythological and folklore texts) was analyzed and the following results were obtained: 1) Safarzadeh poetry is full of religious texts and has been used directly and indirectly by the poet's companionship with the Qur'an and its translation into three other languages of the world of Quranic words, compositions and talmids. Therefore, the Qur'anic text in its poems is more frequent than other religious texts. 2-Saffarzadeh uses the linguistic and linguistic uses of the ancient prose texts in his poetry, such as: Similar compositions with the word "species", which are luminous features of Behaji's history. It also uses the adjectives, words and combinations used in Keelah and Damnah, Marzbanam, Golestan, and others. 3. The language of the poetic political-critical poetry of Safarzadeh when he speaks of a homeland and speaks of a despotic system; the language and tune of Ferdowsi's tune into the mind of the reader, in addition to the mystical poetry of Rumi, Sanai and Hafez also in induction His poetic concepts have helped the reader. 4. Provenance texts in Safarzadeh's poetry are more frequent in comparison to the classical poetic text. 5-Saffarzadeh uses words and compositions learned from ancient poets and writers to invent words that are not used in modern languages, but their synonyms are used in ancient poems, such as the word "listener" 6. The national myth in poetry isfarzade has a wider application than other myths. He has used these national myths to express his political and revolutionary goals. 7. The presence of historical myths in Safarzadeh's poetry is very dim; among these myths, only the positive character, such as Mazdak, and the negative person, such as Alexander, have attracted the poet's point of view. 8-Safarzadeh uses the words, verbs and folk phrases that are sometimes quintessential and incorporates them in artistic coding, and adds to his poetic vocabulary. 9. The words and combinations of folk in his poem are more frequent than other folkloric texts.

Background: Domestic violence is a global public health concern as stated by World Health Organization. We aimed to conduct a Textual analysis of tweets associated with domestic violence through keyword identification, word trends and word collocations. The data was obtained from Twitter, focusing on publicly available tweets written in English. The objectives are to find out if the identified keywords, word trends and word collocations can help differentiate between domestic violence-related tweets and non-domestic violence-related tweets, as well as, to analyze the Textual characteristics of domestic violence-related tweets and non-domestic violence-related tweets. Methods: Overall, 11, 041 tweets were collected using a few keywords over a period of 15 days from 22 March 2021 to 5 April 2021. A text analysis approach was used to discover the most frequent keywords used, the word trends of those keywords and the word collocations of the keywords in differentiating between domestic violence-related or non-domestic violence-related tweets. Results: Domestic violence-related tweets and non-domestic violence-related tweets had differentiating characteristics, despite sharing several main keywords. In particular, keywords like “, domestic”, , “, violence”,and “, suicide”, featured prominently in domestic-violence related tweets but not in non-domestic violence-related tweets. Significant differences could also be seen in the frequency of keywords and the word trends in the collection of the tweets. Conclusion: These findings are significant in helping to automate the flagging of domestic-violence related tweets and alert the authorities so that they can take proactive steps such as assisting the victims in getting medical, police and legal help as needed.

This paper investigates the relationship between trust and managerial ability. We use Audi’, s (2016) Trust measure based on Textual analysis. Also we use demerjian’, s(2012) model to examine managerial ability. The result of our main regressions indicates a positive relation between current level of trust and managerial ability, while current managerial ability is associated with trust too. Also, our results show that managerial ability effect on trust is much stronger than trust effect on managerial ability.

Myths are among those mass narratives which are constantly reconstructed, recreated, or reprocessed in a variety of forms due to their interconnection with archetypes and symbols. One of the best grounds for the emergence of myths’ manifestations in the contemporary era is in the form of novel. Surely, the tight link and mutual requisiteness of fiction with the world’s new events, added to the narrative features of novel and the potential of this contemporary fictional form in the reflection of diverse subjects and tastes, methods, manners, styles, that is in addition to the display of the common and popular thoughts, beliefs and discourses in the society, all together made the structure and narrative elements of novel become the most vast ground for the emergence and manifestation of myths or even hinting to them. The aforementioned approach in novelists who base their work on myths, paves the way for the inter-Textual analysis of mythological novels as they use and reflect myths; which is due to the attention they pay to conceptual indications and the intended symbolical myths in the mind. The recreation of myths in the form of narratives in the new era should be considered one of the prominent elements in the deep influence of postmodernism literature. In this relation, the present article intends to analyze "Salmargi", with an inter-Textual approach joined with narrative analysis. "Salmargi" is an Iranian post-modern fiction which has been shaped with two major and key mythological themes; one is the opposition of "life and death" in the form of mythological narratives of killing-the-son and the other "sacrifice"; with emphasize on the innocence and meekness of the heroes. While the major narration of the story is devoted to the Imposed War or rather influenced by it, "Salmargi" counts as one of the first postmodern experiences of the Iranian novelists about war.

The standards and the taste for art are being constantly changed and transformed. Anthologies, as a summary of the audience's views and taste, are a mirror and a reflection of the evolution of literary taste standards in any era. The process of formation and the direction and evolution of literary taste in each period can be well understood by analyzing works in different periods. In the present study, the literary taste was determined by examining Chahar Maghale and Lababal-Bab from a sociological point of view. The foundation, social context, and criteria for selection are important factors in directing the literary taste of the time from the perspective of the authors of these two anthologies. The mutual benefit of the masters of power and masters of art in immortalizing and preserving each other's names, the artist’s colleagues, personal acquaintance of young artists with famous writers and artists, and literary criticism are considered to be the most important literary metaTextual features that shape artistic tastes from the point of view of the authors of these two anthologies. The balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the outstanding intraTextual features of the criticism of taste in the discussed anthologies. The social class of the artist, the glory of power, perfectionism, and artifice, the metaTextual value-creating criteria, improvisation and conciseness, and the use of literary devices are all among the examples of intraTextual beauty in the studied anthologies. Introduction The philosophy of aesthetics, i. e., the concept of beauty and conversations about beauty, exists among the opinions of philosophers and ancient thinkers, but the limits of the definition of beauty are not clear. Some historians and philosophers believed that the concept of beauty, like other generic concepts (nature, truth), is a vague and absurd mental generalization (Winer, 2008, p. 1507). There is various evidence of the transformation of examples of beauty in all branches of art, especially literature, over time. One of the main reasons for the changes in examples of beauty is that the aesthetic taste and the taste of the times are subject to change both among speakers and creators of works and among their audience, and taste is often considered the criterion for measuring the beauty of literary works. The anthologies in the Persian language are among the manifestations of the criteria of artistic virtuosity and taste in each period. By using the concepts of sociology of literary taste as an interdisciplinary branch between sociology and literature, it is possible to give an answer to why and how the audience's literary taste evolved, as the authors of anthologies were in fact serious readers of Persian poetry who have lived in the context of literary trends (Fotouhi, 2017, p. 27). The chosen anthologies of this research are Chahar Maghale by Nizami and Lababal-Bab by Aufi. In this research, we aimed to investigate the evolution of the criteria of aesthetic taste and the artistic taste of the time from the point of view of the serious audience of poetic literature, i. e. anthology writers, by reflecting on and examining the two anthologies, Chahar Maghale by Nizami and Lababal-Bab by Aufi. Materials and Methods The study used the sociological concepts of literary taste from Shocking's point of view and identified the metaTextual and intraTextual characteristics of literary taste and criteria and metaTextual value-creating examples based on the two works (i. e. Chahar Maghale and Lababal-Bab). In this descriptive-analytical research, the bibliographic research method has been used to collect the data. At first, anthologies, books, and related articles were studied, and the desired data were collected in the field of taste. Then, the results were presented analytically. Research Findings The study of Chahar Maghale and Lababal-Bab was conducted from the point of view of the sociology of literary taste from two aspects of characteristics and criteria. In the metaTextual features, the foundation and social context, the social class of the artist and its development, and the mutual benefit of the masters of power and art to immortalize and preserve each other's names are among the most important social metaTextual features and criteria for selection. It was shown that the artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important literary metaTextual features that shape artistic tastes from the point of view of the authors of these two anthologies. Also, balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the obvious intraTextual features of the criticism of taste in the discussed anthologies. In the section on value-creating criteria, sociological value-creating criteria such as the social class of the poet, the glory of power, the scientific and artistic virtues of the introduced poet, reception and fame, the aesthetic criteria of Arabic eloquence, and skill in both prose and verse are among the most important metaTextual criteria. Improvisation, conciseness, and literary devices are among the most important examples of intraTextual beauty from the perspectives of these two anthology writers. Discussion of Results and Conclusions From the sociological point of view, the literary taste, the foundation, social context, and means of selection are important factors to determine the taste of the times in Chahar Maghale and Lababal-Bab. The mutual benefit of the masters of power and art for the immortality and preservation of each other's names, artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important aspects of the spirit of the time that determine the taste of the time. Observance of verbal and semantic proportions, hyperbole, and balance are considered to be among the main intraTextual features of the criticism of taste in the discussed anthologies. The social class of the poet, the glory of power, the comprehensiveness of the poet, and finally, perfectionism and artistry, are metaTextual value-creating criteria in both anthologies. Improvisation, conciseness, and the use of literary devices, whose reason is to arouse a sense of wonder in the audience, are all among the examples of intraTextual beauty in the discussed anthologies. Improvisation and conciseness, results of the social function of poetry, which has treated beauty as usefulness, and the literary devices whose existential philosophy is to arouse a sense of wonder in the audience, have made beauty a source of wonder and pleasure in the eyes of these two anthology writers.

In analyzing Rumi's quatrains (Rubaiyat), the researcher has followed the discourse and Textual construction proposed by Lotfallah Yarmohammadi applied to studying Khayyam's quatrains. To accomplish this, first, Rumi's quatrains are divided into two categories, Motemaken and Maghloob, and then the structures used in them are studied and analyzed. Most of Rumi's quatrains are classified as Maghloob, which is often uttered in moments of ecstasy, discovery and intuition. In the Maghloob quatrains, when the poet talks about "He", he implicitly talks about the truth, the beloved or Shams Tabrizi. These quatrains contain a kind of romantic and mystical theme. In contrast, the Motemaken quatrains concern general and philosophical issues about God, human beings and the universe. However, while, with regard to the constituent structures, these two types of Rumi's quatrains enjoy the same structures (such as description, recommendation, explanation, supplication, wish and prayer), considering their conceptual and content framework, they are different. In both types of quatrains, the description structure is considered the most important and pivotal structure, and since in this structure, the poet himself is in the position of the messenger and often expresses his condition, both at the time of being conscious and at the time of discovery and intuition, the direction of the message is towards the speaker and the tone is emotional and lyrical.