Aristotle's definition of imagination is the beginning of philosophers' conceptualizations of this issue. Farabi, Ibn Sina, and Suhrawardi have greatly extended this concept. Farabi defines imagination with three types of function: preserving the pictures of sensibles, manipulating them, and imitations of sensibles and intelligibles by pictures. Ibn Sina conceptualizes what Farabi called imagination and imaginal faculty in four distinct faculties called the faculty of imagination, imaginal faculty, the faculty of estimate, and memory.Suhrawardi believes that imaginal perception is a kind of Ishraqi presential knowledge and clarifies it based on the observation of suspending images. The most perfect theology of imagination for the conceptualization of creativity is that of Farabi, based on which the four different levels of the creativity of imagination are definable. However, these levels are also realized in Ishraqi or Illuminative imagination, which differs from Peripatetic imagination only in the way it is clarified.

(Genesis 11:6): "And the LORD said, Behold, the people is one, and they have all one language; and this they begin to do; and now nothing will be restrained from them, which they have imagined to do".imagination for Bible as a gift permits us to see beyond the here and now and visualize a future shaped by faith. However, one might ask basically what the nature or conception of imagination is. I’ll focus on the vantage points of Farabi and Hegel as two avatars of the traditions of Christian thinkers and Muslim philosophers. imagination, Farabi believes, may well be defined by its three most notable activities of preserving the sensible forms, combining and separating the sensible forms to make new images, and representing sensible beings as well as the intelligible affairs and beings by sensible forms of two former kinds of images, that is, preserved forms in imagination and the forms created by imagination via combining and separating the sensible forms. imagination keeps forms of a horse, a stone, a wing, a smell, etc. imagination also makes a horse with two wings, or a stone that is crying, or a wall that is singing. imagination gets the image of the horse from nature, and the image of the wings from nature too, and then produces a new form by joining them. imagination represents, for example, the vice of damaging environment by drawing a row of crying trees in a painting. Three stages of imagination according to Hegel include the first stage as reproductive imagination, the second stage as the productive and associative imagination, and third stage as the sign-making fantasy. Three stages mentioned by Hegel very well correspond three activities pointed out in Farabi’s theory of imagination.

Exaggeration is a rhetoric picture which is often used to arrange the speech and to attract the audience. In exaggeration, the poet, shows his meanings by the use of two methods, to make the subject greater or smaller, and in fact he develops his speech by the use of these rhetorical devices and emphatics in order to make the meaning more understandable.Most rhetoricians, as they introduce the exaggeration, emphasize that it is in fact a kind of lie mixed with superstitions and therefore they sometimes have praised it and they have considered it as one of the basic elements of poetry and heightened speech and they have sometimes rejected it and considered it separate from the real poetry.Based on a different approach, in this paper we have answered this question that what is the esthetic value of exaggeration and to what extend the use of exaggeration in heightened speech should be allowed.

The present study aims to explore the evolution of the use of images in teaching such as direct and audio-visual methods, and two communicative approaches to language teaching to stress the increasing importance of using images as a tool in language teaching. If, at the beginning, images were used as a medium to help learners to avoid using their native language and play the role of “ semantic substitute” and facilitator of understanding the meaning of words and phrases, they gradually took more complicated roles i. e. the “ situational image” replaced the “ semantic image” . This finding has helped researchers to devise methods related to linguistic situations. Thus, the information concerning specific situations or cultural points is transferred through images. Henceforth, not only do images have a referential role, but they are also regarded as part of lesson content. In the next phase, images activate learners and stimulate their greater participation in classroom discussions. In this research, we point out the role of images in language teaching in the latest version of communicative approach. This approach takes some distance from its educational role and approaches its actual use in the real life. This role of images, which is in line with the principles of communicative approach with respect to using authentic materials in language learning, allows the learner to imagine a situation that she/ he has never experienced before. Hence, images are considered as an indispensable part of language teaching books from the very beginning up to now. This role has become more essential in the audio-visual and then in communicative methods. It has offered new dimensions to foreign language learning classes. Although, at the beginning, images were used in the classroom to avoid translation, it has created a teaching tool and educational aid along with the content of the textbooks. With an overview of the application of images throughout the history of education and various educational methods, this application gradually diverges from its initial use and approaches. Images have always caught the attention of experts. The study of the evolution of this educational tool, like other tools and techniques, can be crucial to the efficiency of its use. If audios, texts, and images constitute components of a language training material, then its importance becomes clearer. One of the features of the audio-visual methods is the association between dialogues and images which, together, show a communicative situation. Every image concerns a section of the dialogue. This connection between images and phrases is based on the theories of behaviorism and the conditioning theory because, by repeating images and dialogs, a related statement for a language learner is presented. In the second-generation of audiovisual methods, the direct connection between images and sounds disappears and the learner is usually guided in such a way that helps her/him to interpret the communication situation only by viewing images before hearing dialogues. In third-generation methods (also called communicative methods), the use of multiple images in series (or a storyline) that was related to the number of sentences and associated voices in a dialogue was omitted, and foreign language experts decided to use only one or few images that generally represent the framework of the situation and characters in the educational content. More use of educational techniques, such as the simulation or role play in communicative methods, coincides with the evolution of the status of images in foreign language teaching textbooks. Instead of mechanically repeating the dialogues of the lesson in an audio-visual method, these educational techniques allow the imitation of near-reality communication situations, which leads to more diverse dialogues in the classroom. Unlike audio-visual methods, the correspondence between sounds and images in recent methods is not pre-existing and images play the role of initiator of dialogues. The authors of the methods attempt to provoke the imagination of the learners through images. In fact, learners should imagine the conversation of the characters appearing on images. Then, they can speak in foreign languages according to what images suggest to them. The presence of images in language teaching before the communication approach is often used to facilitate and accelerate understanding and it is far from its natural and actual use. The communicative method emphasizes the need to use the natural resources of a language in education as well as the authentic texts. The application of the image from the traditional to the communicative methods and the latest achievements in the action-oriented approach have been expanded considerably and some applications have always been preserved and some others have been added; it can be said that in general, the presence of images in the teaching of foreign language is remarkable in the instructions for exercises involving images. This research attempted to explore the evolution of the role of images in the methods of teaching French from the "direct" to the communicative method and its last generation, action-oriented, and see how its role evolves for a foreign language learner.

The geometry of imagination and thought are important tools to acquire knowledge. Human beings have always deployed these two significant tools to get an understanding of the macrocosm and microcosm. These two factors have been incorporated and well utilized to achieve a proper appreciation of these profound entities. This essay engages the strong links between knowledge and art by nature and struchire. There are samples of Hafiz poetry to the demonstrates the marriage of thoughts and the geometr-v of imagination as well to depict the mathematical relationship between their thought patterns.

The literary and literal meaning of imagination is disclosed if one refers to literary, philosophical, and mystical dictionaries explaining that imagination is the storage of a common sense so that common sense is the regulator of the whole senses and whatever drawn out of the figures and meanings. imagination has a broad spectrum: delicate, profound, farsighted, the heaven and the major element of poetry. Mystics take it as the monster of the overall heavens and the essence and origin of an existence which is the manifestation of the creator from within. The world of imagination though assumed as something away from rational world together with wisdom is the existing and reality layer of human being so that whatever revealed out of it has been shinning onto the broad and ever present heaven for mankind. Mystics also discuss about imagination to be one of the most important human vigor. Maulana has also talked about imagination just like other mystics which in this paper imagination in Masnavi will be studied. From Islamic philosophers' point of views such as Ibn Sina, Farabi, and Sohrevardi imagination has multiple meanings that each of whom has strived to explain their own opinions in their own works; the same is true with western philosophers such as Descartes and Plato, totally different from others.Imam Mohammad Qazali, Sohrevardi, Mowlavi, Ibn Arabi, Hafez, and Mollasadra have all agreed on the broad scope of imagination and its importance in the existence.

Farabi is a philosopher who, for the first time, by taking a rational interpretation of revelation, took prophecy out of the form of a purely theological issue and included it in philosophical discussions. He, by using the argumentative method, proved generalities about the position of the Prophet, how he related to the unseen world and the characteristics of the Prophet. He did not need to go into detail to express the general laws of prophecy, and necessary did not use well-known religious words to express his views,Rather he substituted a noun for them and constructed imagination. The question in this study is how prophecy is presented in Farabi's works and also what does this new image have to do with the prophecy? In other words, what image did he present of the prophet and prophecy in his philosophy? One of the results of this study after proving the claim that there is no independent subject under the title of prophecy and also not using the word of "Prophet" (except in the first process of forming image) as well as by using Farabi's explanation of relevant, is that Farabi mentions the first chief as the recipient of revelation and taking advantage of commonalities between the definitions made of the first chief and prophet, directs the mind of the audience towards the subject of prophecy. According to his view, the first chief in the utopia corresponds to the Prophet with the condition of absolutely and the similarity between the Prophet and the first chief is confirmed and the challenge of lowering the state of Prophet to that of philosopher disappears in Farabi's view.

In this article, it will be demonstrated how the element of "place," highlighted through its emphasis on geography in early-period ʿAjāʾib-nāma texts, embodies earthly, non-imaginative, and rational thought. In later periods, this element yields to "time" through a focus on "history," departing from rationality and objectivity and merging with imagination.  It seems that ʿAjāʾib-nāma texts served as a platform for a kind of "resistance" against the mainstream scientific discourse. Employing Foucault's genealogical method, this study aims to identify the points of rupture in the imagination of ʿAjāʾib-nāma writers. In the first period, "geography" served as the vehicle of imagination and the connecting link to reality. In the second period, recourse to "narrative" replaces geography. The third period, in which imagination is based on "historical" events, we witness the proliferation of mythical creatures and their significant growth. Even historical figures have not been spared from the imagination of ʿAjāʾib-nāma authors. Based on this, three distinct periods of ʿAjāʾib-nāma texts are identified.

The most important issue in this article is to obtain a social analysis of the historical narratives of ancient Iran to the narration of Shahnameh. It is a science, in the study of group life and human behavior is a realistic approach or "landing" that the experimental world of this approach is the natural world of such life and group behavior, according to the subject of this study, research is inductive strategy and The method is qualitative. Achieving the meaning and mental interpretation and social imagination desired by Ferdowsi in Shahnameh is possible by using a qualitative approach. Is active and the methodology of studying phenomena and narratives in Shahnameh is a kind of dialectical analysis that is done in the space of symbolic interaction. The society depicted in Shahnameh is in dire need of charismatic leaders who, due to sin and mistake, Have not lost, in such c With the emergence of problem and problem, people's interaction in the field of wisdom, religion and ideology, which forms the general meaning of people in interaction and understanding with each other, a confrontation with the problem is formed, which can result in social dynamism, social demand. Or revolt and social transformation or even revolution.

imagination, particularly ethical imagination is a category having gained less attention in regard to its definition and nature, and investigating its role in many ethical systems and theories including Islamic ethics has been neglected. To achieve this purpose, a definition of ethical imagination is proposed and its relation with current paradigms is studied. Subsequent to illustrating the relation and differences between ethical imagination and the concepts like superstition or belief in the unseen, the role and effect of imagination will be analyzed in two separate levels: the level of formal principles and the level of norms of Islamic ethics. To do so, the function of imagination in the golden rule is analyzed as an important principle among the formal principles of Islamic ethics and by investigating some virtues and vices such as interest free loan, backbiting, zakat, murder and rehabilitation, the role of imagination in the realm of norms will be analyzed.