The current research was conducted with the aim of the effect of attachment style on emotion regulation with the mediating role of identity style. The research method was descriptive and structural equation analysis. The statistical population of the research was all second year high school students of Kashan city in the academic year of 1400-1401, of which 500 people were selected by random cluster method. Data were collected based on three questionnaires: Gross & Jan (2003) Emotional Regulation Inventory, Identity style Scale (6G-ISI) and Collins and Reid (1990) Attachment style Questionnaire. The data are obtained by structural equation modeling and using Laserl 8.8 and 26 spss software. analyzed. Based on the results, secure attachment style at a significance level of 0.01, avoidant attachment style at a significance level of 0.05, and ambivalent attachment style at a significance level of 0.01 directly predicted emotion regulation. Among the three attachments, secure attachment style predicted emotion regulation at a significant level of 0.01, with the mediation of identity styles. Informational identity style at a significance level of 0.01, confused identity style at a significance level of 0.05 directly predicted emotion regulation. Among the three attachments, only the secure attachment style at a significance level of 0.01 had a significant role in predicting the normative identity style. According to the results of this study, emotion regulation is one of the most important constructs of educational psychology and an important factor in determining mental health and successful performance. It is in education that the factors affecting emotion regulation and its antecedents should be identified. Planning for training and holding educational workshops in this field in schools is suggested for students.

BACKGROUND AND OBJECTIVES: The Eastern Qajar Divan is one of the most precious stones of the 13th century. Unique copies of this poet's divan are available in the Library of the National Assembly, the Golestan Museum Palace, Astan Quds and the Malek National Library. The purpose of this research is to analyze the style and content of this poet's divan from three perspectives: intellectual, linguistic and literary. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Qajar East is one of the poets of the return period. He has followed Hafez in composing poems. In his divan, in addition to poems, lyric poems and quatrains, he has lamented and lamented the Ahl al-Bayt, especially Imam Hussein. CONCLUSION: One of the poetic features of this poet is the poetic use of novel industries in the field of novel verbal and spiritual. Of which; Repetition in the realm of rhetoric and my imagination in the realm of spiritual novelty; Allowed among the imaginary; They are the most frequent literary arrays. Another feature of this manuscript is the use of current lines, so that a large part of the poems of the court are dead. The variety of poetic forms in the poems of this poet has caused a variety of concepts, so concepts such as; Religious and moral thoughts, love, description of beloved states, description of beloved, mysticism, praise of the Prophet, Shiite Imams and Fath Ali Shah Qajar can be seen in his poems.

Examining She’, r-e Noo (new poetry) and its poets in the course of history of Persian Literature, one can found the vast majority of these poets had developed a particular style or language, or sought to do it. The most simple and productive task in this direction is breaking from the traditional rhythm and rhyme, as well as being influenced by the atmosphere, experience and images of Western poetry. These poets have also deliberately disrupted the standards of normative language and as a result, the goal of these poets was to bring their poetry as close as possible to colloquial language. Farrokh Tamimi is one of the lesser-known poets of Nimayi or Azad (free) poetry, from whom five books of poetry have been published. This article deals with Tamimi's creativity in different fields of nouns, verbs, adjectives, etc., citing examples and explaining the linguistic and stylistic novelty in his poetry. Collecting notes and documents, the researcher has used descriptive and comparative method.

Various studies have been conducted on how to create Hindistyle.Political, economic and social issues and also check the Last Poets lyrics belong to old-style this case helps us. In this case, Nizam Astarabadi's poetry that lived end of timuri era is remarkable. Our efforts in this paper have been Survey field’s formation Hindi style in Nizam's poems. After review we saw many of the Hindi style features as Parable, Equation, Farfetched Poetic imagination the effect of ordinary language, Trend of shiee thought, Praise children Islam Prophet, Linguistic and Grammatical mistakes and textual Complexity.

The history of Al Vozaray Abol Raja Ghomi is one of the literary well known books which concerns with autobiography of Saljooghian ministers, it is a historical work, but the language is absolutely literary. Two artistic features of book are creative use of Amsal va Hekam translation in Persian and Hokm Adab Tazi as well as frequent references to the ancestor’s beliefs in animals. The results of these two books are out of norm and out of ancestor writers, therefore this work is different to other prose works in style. Hence the well-known style of book is literary-historical in Persian literary history as well as stylistic. It was shown that this theme is mostly intellectual used style. Whereas these two issues are seen in the previous literary books, but it has taken the style qualities in the history book of Al Vozara. The examples show that the author has used organic principles, aesthesis’ in the context of Al Vozara which carries these two well-known style.

BACKGROUND AND OBJECTIVES: "Hussein Ibn Hassan Rudsari Gilani" with the pseudonym "Faregh" is one of the unknown poets of Iran in the tenth century and the early decades of the eleventh century in the field of composing religious epics. In this article, while briefly introducing this precious poet and the Fareghname court, we intend to examine the stylistic and content features of this version from three intellectual, linguistic and literary perspectives. METHODOLOGY: The present study was based on the documentary method (library) and on the direct study of graduation verses. To conduct this research, we have extracted the stylistic features, the content of the dissertation in detail and point by point, and we have presented them briefly and usefully. FINDINGS: The Fareghname, like other religious epics of the Safavid period, is a mixture of reality and myth, which, of course, sometimes has a narrative and poetic fantasy aspect superior to reality; Although the existence of Imam Ali (as) is a real thing in these stories, but such scenes have never happened to him and such wars have not been witnessed by history. The lands in question are also unknown in the Fareghname. CONCLUSION: The Fareghname system, despite having weak verses full of verbal and spiritual flaws, is a favorite book of the religious community. Among the poetic features of this poet is the extensive use of novel industries in the field of novel words and spirituality, among which; Puns in the realm of inner music, similes in the realm of spiritual music, are the most frequent literary arrays. Another feature of this manuscript is the use of current rows; In such a way that a large part of the poems of the court are dead. Rhyme flaws are also common in the Fareghname system. Among the most important intellectual themes of this book, we can mention such things as: "Mythical principles and beliefs, moral thoughts, religious thoughts, praise, prayer and astronomical terms".

Indian style in poetry was not what had been thought over the years. This style had so many unknown capabilities which made it restore its attacked and criticized identity. After the years Indian style is able to impress the poets even with its denied deep imagination and detail, Nima and his followers besides Romantism and Symbolysm, used this style in their poetry. Indian style has dazzled the eyes that after Islamic revolution due to the concerns and afflictions of novel idealogy, paid less attention to the standards of European poetry. Among the poets, Bidel Dehlavi and Sa’eb Tabrizi played more important roles than others in improving this style. A familiar figure in current literature of Iran, Qeisar Aminpour, with all of his attachment to the literary traditions and Nima’s innovation in poetry, was impressed by poetic procedures of Indian style and used it in his poetry. What follows in this paper is a detailed account of the aesthetic features of Indian style in Qeysar Aminpour’s poems.

Precipitance of contemporary humans in most stages of life stems from popularity of machinism and dominance of technology in world today. This ended in minimalist conception of architecture, painting, sculpture, literature and so on. In literature, minimalism is a literary style or principle based on excessive compression and undue brevity of literary content. Advent of minimalism and short short-stories is something novel in the west, but there are numerous instances of short short stories in ancient Persian literature which manifest characteristics of minimal stories. Kashf-ul-Mahjub, written by Hujwiri, is one of mystical and literary works in Persian which requires elaboration and investigation not only because of its content but also for its storytelling. This paper aims to answer the following question: "Does the structure of stories told in Kashf-ul-Mahjub agree with features of minimal stories? " Consequently, the present paper intends to investigate and compare the characteristics and parameters of minimal stories to stories told in Kasf-ul-Mahjub to demonstrate that brevity and minimalism in story genre, although more vivid nowadays, is deeply rooted in ancient Persian literature. The results of our study attest that most of stories told in Kashf-ul-Mahjub possess the features of minimalistic storytelling.