The Qaṣīda (ode) is an orderly and collective semantic piece of poetic writing bearing messages and elements that distinguish the thematic character and the tone prevailing on the contexture of the text. The distinguished poet of the fourth century (in the Islamic calendar), al-Mutanabbi's Qaṣīda on the death of Abu Shuja Fatik, is a salient example of elegies, in which the originality of grief could be analyzed and investigated based on its intra-textual elements.The various viewpoints of literary criticism in the 20th century can be divided into two distinct approaches: (1) text-based and (2) intratextual. The traditional method was studying and discussing the literary work through the outside world and the author's life. Another approach is called intertextuality, which forms the center of the works of structurists and formalists. In this particular approach, the importance of the text itself overrides that of its intratextual elements. There exists the belief that some authors have expressed ingenuine feelings and emotions in their lamentations, not out of sincerity but duty and obligation. The present aim seeks to highlight and expand the intertextual elements by analyzing the literary work, the objective of which is to establish that the text, as an autonomous semantic unit, is capable of determining the ruling nature of the Qaṣīda's context. 2-Research methodology Comparison of one eulogy with another, taking into account necessary requirements. Respecting the autonomy of the text as well as trust in a uniform text, the prerequisites of this include following criteria and rules that ensure the validity of inference gives credibility to the paper.The study at hand has used the second method to validate and evaluate the genuineness of the grief expressed in the literary work, based on the thematic elements of the Qaṣīda. The thematic and structural elements were first identified then analyzed. The study's results were deducted from the analysis of these collected data. 3-Discussion Thematic elements compose a hidden treasure employed by the poet to express his viewpoint, line of thinking, and emotional standpoint to the reader. Any inference from or judgment on the text is made possible and validated by these elements. In order to distinguish the coherence and the genuineness of grief in the Fatik elegy, the following elements in the text have been studied, various semantic aspects have been taken into account, including technical, artistic, and thematic: 1) the state of the documents, 2) structural reasonings, 3) reverence and veneration, 4) the continuation of Dhikr, and 5) digression. The analysis and final conclusion on the genuineness of the grief in the elegy have been attained based on the quality of the aforementioned elements in the text. The varying inflectional structures in the text, various syntactic forms, and meaningful rhetorical context have made it possible for this eulogy to implement disguised subtleties to convey its illicit and implicit messages; this is indicative of the fact that the goal here is not only the conveying of the message but how the message is conveyed and through what means is even given a higher priority. The eulogized friendship has a distinct nature in the poet's interpretations. The text's portrayed images, interpretations, and qualifications all contribute to forming an image of an individual with immense prowess and eminence. The interpretations glorify the individual portrayed, while the qualifications enjoy authoritative rhetoric despite their masterful concision.The element of continuation of Dhikr is apparent in all 45 verses of the eulogy, from the beginning to the end, uninterrupted, throughout the entire poem and in various forms and expressions, each with their own particular distinction. Digression can be said to be the portrayal and presentation of a grandiose prospect of the scene and an artistic attempt to rever and glorify the elegized person. 4- Conclusion The analysis of intertextual elements which create this Qasida's thematic coherence concludes that the poet chose logical persuasion over emotional stimulation. By highlighting the individual's privileges on various discourse and artistic levels, the poet elevated him to a status worthy of praise and reverence. The utilization of linguistic devices, along with a dignified style and approach and a keen perception authority, have played the greatest role in the soundness of the text's context and communicating the poet's intended meaning. The analysis and exploration of the text's grammatical elements revealed that there exists more in-depth hidden messages and meanings in the interpretive sayings and depictions than what it might suggest on the surface.The text's Semantic and rhetorical structure contained subtle secondary meanings that in addition to indicating reverence and glorification, kept the remembrance of the eulogized person alive and dynamic in the horizontal and vertical contexture of the text. The element of digression, employed in a comparative approach, had made the eulogized person's virtues seem unique and special. The structure of the verses and the formation of the words in the elegy was accompanied by such subtlety that makes one think they are dealing with a cosmological argument, an argument in which the premise was set up in such a way that would eventually inevitably choose discourse for logical inference. Based on the analysis of the intertextual elements, the genuine grief theme that is greatly rooted in the elegy under study here is not the result of an emotional overflowing or other means often used in this genre of writing but is due to rationality that springs from the poet's sincere reflections on the matter. References Asvar, Moosa. Chakame haye Motanabbi. Edition 1, Tehran: Hermes, 2005. Bostasni, Foad afram. Almajanei Alhadise 3st, Beirut: Dar almashreq, 1986. Daad, Sima. Farhang Estelahat adabi. Edition 7, Tehran: Morvarid Press, 1980. Fakhoori, Hanna. AlJaame Fee Tarikh Aladab alarabi, Edition 3, Qom: Manshoorat e Zavelghorba, 2000. Farrookh, Omar. Tarikh Aladab Alarabi. Edition 5, Lebanon: Daar Alelm Lelmalaein, 1968. Ghazvini, Khatib. Aleizah Fee Oloom Albalaghe. Correction By Alkhafajei, Beirut: Alsharekat Alalameiye lelketab, 1989. Jeusei, Salma Alkhazra. Alettejahat Va Alharakat fee Alsher Alarabi Almoaser. Tanslated by: Abdolvahed lolova, Edition 1, Beirut: Markaz derasat Alvahdat Alarabeye Press, 2001. Mirhajei, Hamidreza & Maramei & Amanei. Karbord e Manashenasi Asle Taadol Tarjeme. Journal Arabic Literature, University of Tehran, p.p137-164, vol.2, no3, 2011. Motanabbi, Ahmad Ebn Alhoseyn. Divan. Exp Abolbagha Okberei, Correction Saghgha & Abyarei, Lebanon: Daar Almarefe, No date. Nazemeyan, Homan. Az Sakhtargaraei Ta Ghesse. Edition 1, Tehran: Amir Kabir University Press, 2014. Rezaei, Reza & Mohamad sheikh & Ferasat Askarei. Sedq va kezbe Atefe dar Marseyehaye Motanabbi, Journal of Lyrical Literature researches, p.p:45-60, Vol.13, No25, 2015. Rezaei Haftadori, GholamAbbas Hasanzade Nayyeri. Sharhe gozide Divane Motanabbi. Edition 3, Tehran: University of Tehran Press, 2010. Zakerei Manesh, Omid. Tahlile marseye ghanaei, Journal of Lyrical Literature researches, p.p:67-86, Vol.16, No31, 2018. Zeyf, Showghi. Alfan Va Mazaheboho Fee Alsher Alarabi , Egypt: Dar Almaaref, 1960. Zowzani, Hoseyn Ebn Ahmad. Sharho Almoalaghat Alsabe. Pishavar: Rasheideye, 1990.

A “ compilation” is a work formed by the collection and assembling of pre-existing materials or of data that are selected, coordinated or arranged in such a way that the resulting work as a whole constitutes an original work of authorship, such as periodical issue, anthology, encyclopedia, telephone directory, etc. Since the prerequisite for protection of copyright works is originality, this question arises whether these works are original and may also be copyrightable. The meaning of originality is not defined in the majority of national copyright legislations. Instead, the interpretation of what is to be original has been left mainly to the courts. Courts have different opinions regarding the definition of originality and its conditions. However, the Supreme Court of United States in the Feist case put an end to this division. This article attempts to study the notion of originality of compilations works by analyzing the Feist case in order to answer whether compilation works have any originality and if the answer is yes, what is its scope.

Mulla Sadra has experienced three philosophical journeys: the originality of nature, the originality of existence of gradational oneness and the originality of existence of personal oneness. These three journeys are the main principles of Transcendent Theosophy, and any kind of evolution in them leads to evolutions in minor issues. Due to the systematic connection of the issues, in the issue of the reality of science and various issues related to it, there should be evolutions that are proportional to the three mentioned journeys. According to the first journey of science, the science is from the category of accident and as a result, it is an essential affair, while according to the requirements of the second and third journey, the science has coexistence with existence. This transformation leads to transformation in many minor issues and creates fundamental differences. The issues of the first journey are more influenced by the non-existential view of the realities related to the subject of science, which is referred to as the foundation of qảvm in pre-Sadrai philosophy. In this article, due to the position and opportunity, we will address and analyze some important preliminary issues, which include: the position of discussion, the essential or existential nature of science, being nature or concept of science, the definition of science, the equivocality of names or commonality of meaning of science, being contiguous or analogous of science and the type of attribution proposed in science based on three philosophical journeys.

The Persian tradition of literary criticism believes that through Sanayi Qaznavi, the Persian poetry penetrates through the strict and narrow borders of nobility and pleasure-seeking materialism of the courts; stepping towards the modem domain of wisdom and intermingling with the public. It also seems that Sanayi Qaznavi's role is considerable in the elaboration of the poetry's principle regarding experimentalism; that is in addition to creating a serious change both in the content and approaches of the Persian poetry. Such issues are usually neglected in our literary criticism. While Sanayi revolutionized both the content and motif of sonnets, he also directed it towards achieving experience. In this relation he created sonnets that possessed his own mystical and inspirational insights which as a matter of fact blocked the path of imitation and repetition in the Persian sonnet. In this way Sanayi became a successful pioneer for the next great poets who appeared after him, such as; Attar, Sa'adi, and Hafez. The author intends to survey the principle of experimentalism in Sanayi' s sonnets in order to show his originality in poetry and sonnet in the domain of verses' structural cohesion and unity of meaning; the mentioned cohesion is created through maintenance of inspirational experiment and its recreation in the poetic language.

originality is an essential requirement for the copyrightability of any artistic and literary work. Creative works are afforded copyright protection only if they are original. originality has yet to be defined by international or national laws including Iranian Laws. The judicial interpretation of national laws also differ from one another and there is no consensus on the concept of originality. Under traditional approach, originality is often referred as to "labor and effort" or "self expression " of the author, whereas the more approach is that of "creativity " and exercise of "skill and judgment ". However, all legal systems recognize that the work must be independent and not copied from another work.The main question of this Article is which approach can strike a balance between author’s rights and public interest to cheap and easy access to artistic works. This article will examine originality under different jurisdictions and concludes the Canadian definition is the more appropriate approach to the said question. Finally, it suggests that the Iranian legislature shall replace the term “creativity” with “skill and judgment” in 14 of article 1 of the copyright bill.

In this essay, evolution of the word originality in ancient languages is considered using historical semantics or philology that is study of the formation process of meaning. The hypothesis of this essay proves that the meaning of the word "originality" in different cultures and ancient languages is Existence and Being as its common usage in Islamic philosophy. To sum up, originality means Existence and Being. The content of philosophical meaning of this word has been included in Greek so this is why we have such an approach on this word. In the essay, we find this hypothesis completely correct, especially by referring to the famous text of Aristotle and his book Metaphysics.