binary opposition is one of the fundamental concepts in the critique of structuralism, and post-structuralism as well as the theories of linguistics and semiotics which are rooted in the mythological and cultural beliefs. binary opposition shifted from linguistics to cultural studies and was challenged in the postmodern condition eventually. Claude Levi-Strauss espouses a bipolar-oppositional structure to the logic of myth, including proverbs. In his view, the structure of the human mind to understand phenomena puts each continuum in a binary reciprocal polarity. This pervasive mental action will eventually lead to the binary opposition, such as nature and culture. The purpose of the present study, however, is to represent the value binaries in the proverbs of the Ilami people. Due to the reconstructural nature of the case study, the research paradigm was qualitative and the method used was qualitative content analysis. The data is the published books about the proverbs of the Ilami people and some key informants were asked to supplement the information. These people were selected through purposeful sampling and were questioned through semi-structured interviews. The findings indicated that the binary value of the Ilami proverbs includes the following general binary oppositions: rational/irrational; collective/individual; dynamism / stagnation; universalism / particularism; order/ disorder; social capital development/ social capital erosion; moderation/ extremism; and justice/ oppression. These binaries consist of more detailed subcategories that represent a society saturated with opposition. The binary oppositions derived from the findings are largely consistent with the Talcot Parsons model variables.

binary opposition is a rhetorical device employed for meaning-making and word arrangement in languages and their versification. In structuralism, binary oppositions contribute significantly to systematic language composition as they entails cognitive deep structures. Considering their role in conveying meaning and literariness of speech, the present study is an investigation of binary oppositions in lasting Persian couplets. Indeed, a major aspect of couplets that contributes to their lasting impression is the emphasis they lay on human virtues, guidance, and enhancement of knowledge. The study primarily undertakes to show that certain lexicons play a key role in constructing couplets and help dig into underlying layers of the verse and the speaker’s thought. Therefore, key questions are how binary oppositions function in composing lasting couplets and to what extent they convey the poet's perspective. Results of our analytic and descriptive interpretations reveal that poets are deeply concerned with asymmetric elements that make up the overall message of the literary work. In other words, these word elements facilitate collocations in the axis of combination and contribute to the brevity and condensation of language. They, in fact, help retain brevity without disruption of the meaning. binary oppositions may carry an elevated sense of meaning that encourages reflection and meditation. They also arouse a sense of awe in the reader through imagery, which turns couplets into a more viable medium with high exemplary functioning in folk literature.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. This article intends to answer the question of how the two oppositions of power and love are formed in the story of "Khosrow and Shirin" by using descriptive-analytical method and also considering the combination of structuralists’ views. The results of the research show that each of the codes of power and love in the story of Khosrow and Shirin seeks their appropriate words on the axis of syntagmatic. The story begins with the balance of the codes of power and its signs, but by the formation of the codes of love, each of these codes attempts to strengthen its system of signs and rejects the codes of opposition. Introduction Structuralists base their studies in each field on binary opposition. The foundation of Western philosophical-scientific thought has always been based on bipolar elements. Evil versus good, absence versus presence, body versus soul, nothingness versus existence, death versus life, etc. These two poles have never existed independently and are based on the opposition of two poles and are always in the hierarchy. They have something that is superior to the other. This belief in duality has led to the practical establishment of the base, and has ultimately considered presence to be superior to distinction and absence. Saussure saw language as something which is based on binary opposition. Saussure's views on the distinction and contrast between speech and language, between signifier and signified, between temporal and synchronic studies, and the axis of paradigmatic and syntagmatic are one of the main intellectual and theoretical origins of the structuralists approach. According to Levi-Strauss, these binary oppositions form the cultural foundation, and our cultural actions derive from these oppositions. Poststructuralists believe that texts are made up of a set of contrasts that serve the structure and help to consolidate it. In binary oppositions we do not find only a oppositional relationship between the two components in question, but there is a wonderful partnership between them, and this oppositional relationship may lead to their perfection and coherence. Foucault, a contemporary French philosopher and thinker, discussed the knowledge in the light of the functions of power. Foucault writes in Order and Punishment: The power produces knowledge. Power and knowledge are directly related. There is no relation of power without the establishment of a domain dependent on knowledge, and no knowledge can be realized without the assumption and formation of relations of power at the same time. In Khosrow and Shirin of Nezami , the power is something which is accepted and the king rules as a person who is the shadow of God and to oppose his orders is a religious sin. In this system, the king moves by institutionalizing his own beliefs and ideas in line with his goals of being at the helm of power. Research Method The present study is entitled the Study of the opposition of Power and Love in Khosrow and Shirin of Nezami Ganjavi poetry. In this research the two elements of power and love have been studied and analyzed by using descriptive-analytical method and library resources. Discussion binary oppositions are one of the most central themes in military works that can be examined in three areas of contrast, paradox, and systems analysis based on a combination of structuralism and semiotic perspectives. At the beginning of Khosrow and Shirin's poetry, we are faced with the balance and dominance of the codes of power. The king, science and consciousness, wisdom, warrior, eloquence and artistry are the hallmarks of the codes of power, and these characteristics confirm Foucault's theory of power-knowledge. Since dominating codes of power all elements are moving toward stabilizing and dominating these codes. Characters such as Mahin Banoo and Shirin, as well as language, tone and words, evoke their meaning according to these codes. In contrast to the codes of power, there are the codes of love. The verses that describe Mahin Banoo and Shirin in the language of Shapur, and then the act of painting and meeting and Khosrow and Shirin falling in love with each other, cause the codes of love to be formed within the codes of power and then to oppose the codes of power. In the codes of love, both the characters and the language find new functions and meanings that is in contrast with the language of the codes of power. Language and vocabulary take on an iconic form and enter the emotional context and atmosphere, and the word takes on the form of literature. Most works of art are based on the contrast of victory and defeat, death and immortality, old age and youth, sorrow and joy, intellect and love, body and soul, earth and sky, existence and non-existence, and so on. This research seeks to answer the question of how is the formation of the two semantic oppositions of power and love in Khosrow and Shirin of Nezami? The purpose of this study is to investigate the opposition of power and love in Khosrow and Shirin based on oppositional perspectives. The lack of a case study on the opposition between love and power in Khosrow and Shirin of Nezami highlights the need for such a study. Conclusion Khosrow and Shirin of Nezami is a narrative whose signs are organized according to Pierce's view under two internal and reciprocal codes of power and love. As the text tends towards the codes of power, the signs become symbolic, and when the codes of love are highlighted, the signs become iconic. Each of the codes of power and love seeks appropriate words on the axis of paradigmatic. The constant tension between the codes of power and love eventually leads to the disappearance and failure of the codes of power, but the codes of love, of which Khosrow, Shirin and Farhad are the main actors, are not established and the final progress is made by breaking both codes. Farhad dies in the path of love. Khosrow and Shirin rise from power and turn to the world of love, but Shirviyeh's action causes failure in the codes of love and Khosrow and Shirin both die in the path of love.

Throughout the history of Persian poetry, qasida has had an imitative and steady form. Such a characteristic has played a key role in the weakness of the vertical axis of this form of poetry and has always caused poet's imagination to move in a single direction. Furthermore, this form of poetry is frequently associated with a predetermined chain of images. But Nasir Khusraw’s (1004-1088 CE) attempts in introducing changes into the vertical axis of qasida are innovative; the patterns he had presented for the structure of qasida are varied and unique. In this essay, all Nasir Khusraw 's qasidas are compared in terms of structure with those of his three contemporaries: Onsori (?-1040 CE), Farrokhi (?-1038 CE) and Manoochehri (?-1041 CE). Finally, the study focuses on certain characteristic features of Nasir Khusraw's qasidas such as lengthy description, allegory, personification, frequency of key words throughout the poem and the cohesion of verses by the conjunctions resulting in the stability of vertical axis of his poetry. Such features are less common in the contemporary poetry.

Mohammad Maghout, a contemporary Syrian poet, is one of the very pioneers of blank verse poetry in Arabic literature. opposition and contradiction can be traced as a stylistic and dynamic feature of his many poems, making them not boring or dull. Marked lexicon and poetic forms, rendered in a subtle way make the readers amazing and sensitive. As a result of this dual contrast Mohammad Maghout stays outstanding in the realm of Arabic poetry, leading to his contradictory personality. He says “ This is my nature, the essence I’ m unable to change. ” This dual conceptuality is depicted in the way the poet has experienced in real life, hence, a contradiction in his identity and universe. In this study, it was tried to examine this unique duality of Mohammad Maghout poetry in a descriptive and analytic approach. Through pinpointing his three main works (Sadness in the Moonlight, A Room with Millions of Walls, and Happiness Is Not My Profession), it was concluded that Mohammad Maghout has resorted to dual conceptuality to show his political and ideological issues. So, he has tried to tackle the readers’ minds and lead them to environmental aesthetic of his poems. This unprecedented frequent use of contradictions defines a new style in Arabic poetry that is unique to Mohammad Maghout.

binary opposition of place is a type of critical analysis that examines the differences between pairs of spatial words that contribute to the beauty of the text with their semantic functions. Since the presence of place is one of the most prominent features of Palestinian poetry Therefore, sometimes poets seek help from it in order to express their intentions and talk about their pleasant and unpleasant feelings. Naji Alloush, a contemporary Palestinian poet, was able to instill a network of his desired meanings and concepts into the audience by using the contrasting spatial structure and behind all these words, there is a place for his psychological, political and social concerns, which is indicative of his emotions and opinions. This research tries to investigate the most prominent contrasting places in this contemporary poet's poetry by using the descriptive-analytical method in order to achieve a correct understanding of the semantic relationship between two contrasting spatial concepts. The findings of the research show that spatial duals played an important role in conveying the poet's inner feelings towards two different places and expressing his thoughts. The most important dualities used are: connection and its contrast with separation, Homeland and its confrontation with exile, Here and its contrast with there. These duals express the concept of identity, anti-colonialism, the poet's concern for his homeland and the Arab homeland, and the sadness of a place of alienation. extended abstract 1.Introduction Place is one of the influential elements in contemporary Palestinian poetry. Palestinian poet who touched the suffering of land occupation, war, displacement, In his poetry, the places he lived in and the memories he had of them in his mind; Of beauties, joys, sorrows; It merges with his imagination and portrays it in front of the reader's eyes And in this way, his interest in the place or his hatred towards it is revealed. Naji Alloush is a contemporary Palestinian poet, fighter and thinker who has written many works about Palestine and the Arab homeland and spent his life in the path of Arab and Palestinian ideals. Therefore, the main concern of this poet and writer was the importance of place. Reflecting on the places mentioned in his poems can lead us to the existence of differences between two homogeneous and congruent places. The differences that originate from the poet's psychological and ideological reflections and include his positive and negative feelings towards two places. Therefore, the poet has sometimes benefited from the art structure of contrast in expressing the place, which recognition plays a significant role in the interpretation of the text and the understanding of the meaning and understanding of his thought Considering that in spatial studies, the critical method of double contrast can help to clarify the places of the poet's poetry and explain his point of view towards the places and draw the way he interacts with them, so the main question of the research is that the most important spatial contrasts used in What is Naji Alloush's poem and what meanings and concepts does it express? Research methodology In this research, with the descriptive and analytical method, the Divan of the poet was carefully analyzed and examined, and the evidence related to the place and the confrontations of the place, which has a psychological and political aspect, were extracted and finally analyzed and described. 3.Discusstion "binary opposition" refers to the pairing of the principles of existence and believes that the universe is based on the law of opposition and duality, such as night/day, earth/sky, man/woman. "binary opposition" refers to the pairing of the principles of existence and believes that the universe is based on the law of opposition and duality, such as night/day, earth/sky, man/woman. Spatial contrasts are one of the types of contrasts in the universe. Gaston Bachelard was the first to examine the location in its dual form And he spoke about the duality of home/homelessness or familiar and unfamiliar places, and in this contrast, he called "home" the first place, which is full of humanity, love and warmth (Bashlar, 1987: 24). There are different types of spatial contrasts, such as: open and closed place, limited and unlimited place, place of connection and separation, place inside and outside, homeland and exile, eastern and western place, infinitely large and infinitely small place. The real and imaginary place (dream) that were expressed by the critics of these dualities. The duality (contrast) of place is a technique that has proven its importance in understanding the meaning of literary works that deal with place, and it is considered the main tool for revealing the relationships governing places and its elements. (Hafez, 1984: 169). Naji Alloush is a contemporary Palestinian poet whose poetry shows the importance of place. He tries to show a real picture of the facts of his life, the Arab world and the issues that happened in it by using the dual contrasts of a place in his poems and talk about his feelings towards different places that have played an effective role in the emergence of inner states and the formation of his beliefs and thoughts. Among the most important types of dual contrasts in his poetry, we can mention the contrast of connection with separation, the contrast of the Arab place with the Western-colonial place, the contrast of homeland and exile, the contrast of here and there. Contrasts such as "connection and separation", "homeland and exile", "here and there" show the poet's attention to his past and present place and express his inner sadness regarding separation from the land, home and family and displacement. 4.Conclusion Place plays a central role in Alloush's poetry. The alienation of the place, the turmoil of the political situation in Palestine and Arab lands involved in the war are considered important factors of the poet's attention in using the element of place in his poems. Today, one of the ways of studying place is the "contrast or duality of place" method, which explores the governing relationships between places and expresses their differences. These spatial dualities have contributed to the integration and aesthetic shaping of poems and the creation of concrete and believable images, and have become a factor in influencing words and conveying themes and concepts in the mind. the most important types of dual contrasts in his poetry, we can mention the contrast of connection with separation, the contrast of the Arab place with the Western-colonial place, the contrast of homeland and exile, the contrast of here. The opposition of connection and separation points to the poet's attachment to his village Birzit and his childhood home. For him, these two places are warm, intimate, safe and full of happiness and peace. In front of the place of connection, there is a place of separation, and this place reminds of alienation, coldness and separation and the poet always points to the place of connection with sadness and longing in the place of separation. In the duality of Arab and Western-colonial places, we see the poet's view of two places in terms of economics, culture, and psycho-politics. In this comparison, he explains the negative effects of western places on Arab places. The duality of homeland and exile expresses two positive and negative feelings of the poet. In his opinion, homeland is summed up in a certain geographical place, namely Palestine and his birthplace. Although he lived in an Arab homeland, he felt exiled and homeless, and this shows his sense of belonging to his homeland. In this duality, sadness, anger and hatred are intertwined. The duality of here and there: here represents the land of sojourn and exile and there represents his homeland and birthplace. In some of Alloush's poems, we see this duality of place, which is mixed with the love of the homeland and the sadness of exile. These dialectics express the concept of identity, anti-colonialism, the poet's concern for his homeland and the Arab homeland, and the sadness of a place of alienation. And in this way, the poet was able to make the atmosphere of his poem thinkable for the reader. 5.References Abu-Deeb,K. (1981). The dialectic of concealment and manifestation, Beirut: Dar elm lel malaien.. Aghagh, Gh.(2001). The significance of the city in contemporary poetic discourse, Damascus: Publications of the Arab Writers Union. Allosh, N. (2012). Diwan Naji Alloush poetry, Gaza: General Union of Palestinian Writers and Writers. Bachelard, G.(1984). Aesthetics of space, Translated by Ghaleb Helsa, bagdad :Dar Al-Jahiz. Bertens, H. (2005). 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The problem of the technical place,Translated by seza Ghasem,maghred: Dar Al- baiza. Najmi, H. (1994). Poetics of imagined space and identity in the Arabic novel, First Edition, Beirut: Arab Cultural Center. No`man,Kh.R. (2005). Sorrow in the poetry of Badr Shaker Al-Sayyab, Beirut:Dar al arabieat lel mosoat. Said, E. (2011). Orientalism, Translated by Lotf ali gangi. Tehran: amir kabir. Shartah, O. (2005). Stylistic phenomena in the poetry of Badawi al-Jabal, Damascus: Publications of the Arab Writers Union. Darzinejad, E. baradaran jamali, L. (2017). The translocality of home in mohja kahf s diasporic discourse, Critical language and literary studies, vol.14 , No.19, pp.169-185. Hatami, M.R. (2017). “Geographical reviewed throughout the diaspora”, research letter of international relations.vol.10, No.38, pp.65-81. Rezaei, A. Asadi amjad, F. (2022). “Homi Bhabha and Edward Said on the Migrant’s “Hybrid” Identity and the Possibility of Resistance and Human Agency”, Research in contempora world literature, vol.27 , No.1, pp. 274-300. Rostampour Maleki,R. sherzadeh, F. (2012). “Locational Contrasts in Mohmud Darwish Poetry” .No.9 .pp.53 -76. Seyyedi, S. H. Haji rajabi, N .(2015). “Phonetic Stylistics of Arafa Prayer”, Islamic Studies Sciences and Quran, Hadith, No. 95, pp. 29-47. Soleiman,Sh.A.H. (1995). “Awareness of the place and its implications in the stories of Muhammad al-Omari”, fosoul magazine, No.4, pp. 249-263. Saussure, F. D. (2008). Course in General Linguistics, Translated bykorosh safavi, Tehran:hermes.

Ideology of political dualism reads that there is dichotomy between us and them, between the self and others. Following a brief review of the history of political dualism this paper focuses on the ‘West-and-Islam dualism.’ Considering ideas of two influential and inspiring dualists one from the Western camp and the other from the East, this paper aims to critically evaluate the philosophical assumptions of this ideology. The main argument of the paper is that political dualism, regardless of being used by whom against whom, is a flawed and dangerous political ideology.

Dogmatic approaches interpret literary texts in definitive ways. However, literary texts do lose their supposed absolute and final meanings when approached from a poststructuralist perspective. Consequently, it is possible to have multiple readings of a text from different perspectives. Drawing on Derridean deconstruction of binary oppositions, this paper studies a miniature painting by Sultan Mohammad Naqqash based on Hafez’s poetry. Hafez’s divan is always open to various interpretations between spiritual and worldly approaches. Contrary to the classical interpretations in which a definitive meaning is sought after, “Heavenly and Earthly Inebriation” painting by Sultan Mohammad deconstructs this opposition and presents a new reading of the poem. Based on an analytic-historical method, we argue that this painting creates a new hermeneutic world by geometric composition, colors, and characterization. The painting, we conclude, maintains the poetic ambiguity of Hafez’s poetry. Accordingly, we can say that there is no final meaning in this painting because the spectators simultaneously experience both poles of this opposition and, as a result, for them there is no absolute interpretation.

Since the 1930s, narratives of the fundamental story of the Arash myth have been narrated by contemporary Iranian writers. These narratives have read this myth with impressions that are influenced and appropriate to the intellectual, cultural and political currents of the society of their era. The common denominator of all these narratives are the dual confrontations that constantly repeat themselves in the narration process. The confrontation between Arash and the people, between Iran and Turan, and even between Arash and his own self. For a clear analysis of the structure in mythology, Strauss calls it in his own way as Asturaj. This method, which originated from linguistics, is a suitable method for analyzing this myth. In this research, an attempt is made to study five contemporary texts that focus on the myth of Arash and by using the method of separating the constituent parts of the myth according to Strauss, to address the differences between the retellings of the myth of Arash in the mentioned texts. The idea of knowing myth as a form of language has always been of interest among mythologists. Myth, in its roots, before stories and legends, was alive in the discourse of humans, and it was considered a form of language for communication between humans, and it was also the way of thinking of previous humans. Claude Lévi-Strauss, by studying the origin of mythology, had noticed the existence of dual oppositions of their ancient foundations. In the book Raw and Cooked, Strauss sees the dual opposition as two parallel lines that flow into each other. Extended Abstract The idea of ​​understanding myth as a form of language has always been popular among mythologists. When we look for the roots of mythology and find out that before stories and legends they were alive in the discourse of humans and were actually a form of language to communicate, we mostly come to the fact that mythology was the way of thinking of earlier humans. Claude Lévi-Strauss, by studying the origins of mythology and most of European mythology, notices the existence of dual oppositions in their ancient origins. In Iranian mythology, these dual confrontations are also clearly visible. The basic idea of ​​Iranian mythology is based on the battle between good and bad or good and evil. This idea repeats itself in Iranian mythology; Ahuramazda and Ahriman, Jamshid and Zahhak, Iran and Turan, etc., even in some Iranian myths, whose stories are about the same character, this dual opposition can be seen. Like the story of Zarvan, who was born as good and bad, he faced a double conflict with his doubts. Strauss presents this idea in his book Raw and Cooked. But he does not see this double opposition as two parallel lines that never meet, but believes that they flow into each other. In fact, Strauss considers myth as a kind of basic structure for understanding cultural communication. He believes that these connections mainly emerge with dual confrontations or contradictions. Like raw and cooked. They contradict each other. Raw is associated with nature and cooked shows culture. It is these contradictions that create a kind of basic structure for all the ideas and thoughts of every culture. In order to better understand and analyze these contrasts, Strauss proposes a method called Asturaj, which uses phonology in linguistics, helps to better analyze the myth, and in the following, we use the same method to analyze the retellings of the myth of Arash. For this reason, we studied the retellings of the myth of Arash, which have been written by contemporary writers, who have different accounts of what was in his original story. Since the end of the 1930s, the legend of Arash, which was less discussed among Iranian legends (due to the absence of his story in Ferdowsi's Shahnameh), has been re-read and in these re-readings, it has gained a new life among Iranians. This book was initially compiled by Ehsan Yarshater in the collection of stories of ancient Iran, which presents a two-page narrative of the story of Arash Kamangir to the audience for the first time in the modern era, and with the recognition of this myth, Siavash Kasraei, Arsalan Pouria, Nader Ebrahimi, Bahram Beyzai and Siavash Hemti wrote their different interpretations of this myth. Undoubtedly, the political and social situation ruling Iran at the time of writing these works was not without influence, but when we analyze the myth from within and analyze the contradictions between the elements that make up the structure of each narrative, we come to find distinctions, the study of which can lead us to learn more about the function of this ancient myth in today's times.

binary oppositions are among the essential concepts and components of structuralism and linguistic and semiotic theories that are rooted in human ancient beliefs. One of the fundamental functions of the human mind is the creation of binary oppositions, which are seen in art and literature. The study of binary oppositions in literary works leads to a better understanding of them. This article is an attempt to discuss the binary oppositions in the lyrics of Attar Neishabouri. A close study of 100 chosen lyrics of Attar shows that many of the lyrics are formed by binary oppositions and even in some verses there are two, three, or four binary oppositions, as if binary oppositions are the driving force behind many of Attar's lyrics. The study of these lyrics shows that there are 843 cases of binary oppositions of which 47 percent (396 cases) are lexical, 35.5% (298 cases) are semantic, and 17.5 percent (149) are thematic. There are about 8.4 binary oppositions in every lyric which shows the great frequency of this type of diction. The main reason that Attar is interested in binary oppositions is that the poet is influenced by his unconscious, the importance he gives to moral and religious issues, his consideration of mystical concepts, the effect of the social environment and the his interest in aesthetics and music. In short, binary oppositions are considered as one of the stylistic characteristics of Attar's lyrics that have semantic and aesthetics functions.