2Various researches have shown that Iran's educational system does not pay enough attention to cultural differences and mostly promotes the dominant and official national culture in an engineered way. The focus of these researches has been focused on the inputs of the educational system. The current research, relying on the mixed exploratory method, tried to examine both the inputs and educational processes in order to test the truth of this claim, whether such a claim is consistent with the reality in the educational system. In this way, in the qualitative part, first the teachers' lived experiences of the criteria that were considered for their selection and employment were analyzed (inputs), and then in the quantitative part, the teacher's success in the classroom was analyzed. It was predicted based on the mentioned criteria (processes). The findings of this research showed that scientific identity and ideological identity are valued in the recruitment of teachers, and because of this, criteria such as personal success, special privileges, and religious and moral foundations are put forward. However, it is only the teacher's personal success that can predict his success in the classroom. This shows that the ideological identity is only manifested in the inputs and is practically not institutionalized in the classroom and teaching processes. In this way, considering Iran's educational system as ideological does not match the realities of the educational system.

Majmaolasnaf is the greatest Persian literature unions Shahr Ashoob. The purpose of article is as follows: to acquaint significance of this Shahr Ashoob that is written in safavi era, its superiority reasons to other unions Shahr Ashoob, and made clearance of its structure.Majmaolasnaf structure has described in the following sections: fluency, description, male poems, pleasantly, language features, its developing of social types, referring to social traditions, little application of shiites’ factor, and the lacking view of capitalism in text.In all parts, you can observe comparing verbal Shahr Ashoob with other unions Shahr Ashoob. Lesani’s view also to Shahr Ashoob has been searched deeply. The aspect of this article to Majmaolasnaf is related to structuralism, Verbalism and socialism.

The Cultural reflection of Manichaeism can be vividly seen through the first centuries of Islamic era, the rejection of earthly life, the deny of materialities and paying only to the affairs of Another World, which are the main themes of Manichaeism, won the continuity through Islamic Mysticism and Gnosticism. The Gholat of the Shiite and Zanadaghe were among the sects impressed by Manichaeism. One can discover the motif of The Eternal Life through the Islamic gnostic exegesis, a motif which is the remainder of Manichaean belief in the Paradise of Light and the fall of Light from the transcendental firmaments to the earthly world. The religious, intellectual and cultural reflection of gnostics in Iran and Islamic world began in the late 3rd century A.D. and continued to the Ismaili intellectual movement. Islamic philosophers have used some of the idioms and themes of Manichaeism in their philosophic works. The Ismaili ascetics had also the main role in this movement.

In this article, the reflection of romanticism in the poems of Shams Langroudi and its reflection in Qajar painting is focused upon. The research method is accomplished via library method within an analytical-descriptive framework. The hypothesis is a reflection on a number of the most significant components of romanticism in the poems of Shams Langroudi. By studying such poetry, it can be determined that Shams Langroudi despite having a long time distance with the masters of contemporary poetic romanticism, nevertheless shows attentiveness towards the components and features of this school. The capacities of this school have been used to express the concepts and notions of this field. Tendency to social romanticism, attention to nature, using the power of imagination to create original images, naturalism and expression of romantic and emotion-based themes are the most imperative components of romanticism that can be seen in Shams Langroudi's poems. Shams Langroudi has never convinced himself to use pure imagination in his poems; henceforth, his social and human thoughts are expressed by using the power of imagination. The poet does not tolerate oppression and inequality, however, to express this theme he uses symbols and elements of nature to demonstrate the deepest political concepts and the strongest criticism in the form of symbols and metaphors. Moreover, Qajar painting was a combination of new and old methods; in this sense, segments of Langroudi's poems including naturalism, romantic themes and social romanticism can be seen in Qajar painting. Research aims: 1-A study of the reflection of Romanticism in the poems of Shams Langroudi and Qajar painting 2-Analysis of the most important components of Romanticism in Shams Langroudi's poems and its reflection in Qajar painting. Research questions 1-What is the reflection of Romanticism in the poems of Shams Langroudi and Qajar painting? 2-How are the most important components of Romanticism in Shams Langroudi's poems reflected in Qajar painting?

The purpose of this study was to review and systematically combine the researches performed on promoting teaching reflection with a focus on technology methods and tools facilitated reflective discussion. The research method was a systematic review and this review covered scientific research over the past ten years (2008-2018). By searching different databases and applying inclusion criteria, finally 26 articles were identified as eligible for analysis and the research results were organized into two general categories including the facilitating methods and facilitating technological tools. In the category of methods, two types of methods for identifying incoherent situations were identified, including providing and helping to identify incoherent situations. Identified methods for deepening reflective discussion included asking questions to guide reflection, questioning ideas, providing expert and stakeholder feedback, highlighting conflicts, presenting questioning stimuli, and asking questions for reflection evaluation. To recognize change, two categories of retrospective and futuristic methods were identified. For the facilitation technology tool that support reflection promotion, four types of tools were identified: 1. Tools related to data management and documentation, 2. Tools for presenting and preparing reflective content, 3. reflection representation tools and concepts related to reflection, and 4. Social tools that facilitate reflection discussions. The findings of the present study can help university professors, especially Farhangian University, to facilitate the promotion of students’ reflection by using these methods.

Confining "being existent" in the sense of "having objective realization" to the essence of Almighty God and attributing all other than God to Him, Muhaqqiq Dawani considers quiddity as the made one. Mulla Sdra has criticized his foundation and principles. However, it seems that the theory of Muhaqqiq Davani is the same as the final theory of Mulla Sadra concerning the unity of Allah. Thus Muhaqqiq Davani's views are susceptible of true interpretation, since in case of accepting the particular unity of existence, existence cannot be subject to making. However, quiddities would have manifestations and all other than God are considered manifestations of Almighty God attributed to Him. Principality of quiddity requires that the made one is quiddity rather than requiring quiddities to have external and objective realization next to Almighty God.

Sendbad-nameh, from Zahiri Samarghandi, is one of the old texts in Persian literature, which has been compiled in the 6th century (A.H). The importance of this book is in its literary narrative style. Sendbad-nameh has been critically corrected twice. Ahmad Atash has corrected it for the first time and Mohammad Bagher Kamal-addini for the second time. Although some of the errors from the first one have been corrected the second time, it has its own problems, too. The purpose of this short survey is to correct the errors visible in these two books. Some errors have been documented to the phrases of Zahiri's other book. To correct the errors of the poems cited in this book, we have referred to the original books in which these poems were cited such as Divan-e-Emadi Shahriari, and Divan-e-Abolfaraj-e- rouni. Some Persian and Arabic poets who are not specified in margins of the previous books have also been determined in here.