Image is one of the basic AND variously-used expression in literary CRITICISM. This article has focused on the essence of image in literature. The lexical concept of this term in English language AND its Farsi equivalence has been stated. Then, some famous definitions of image has been investigated. Also, image has been divided into lexical image AND IMAGINARY image. After defining AND explaining each of them, we have distinguished between imagination in surface AND image of depth. We have investigated the issue of image change in history of literature. Along with the change in horizon of recognition of beauty AND mental-social approach in each period, image has also gone through several changes. The traditional eloquence has not been able to get along with image change AND provide the means of analysis for the images of formalism AND modernism.

The word "fancy" was one of the most frequently used expressions of the theologians before the 8th century AND was not among the common expressions in the texts of Sufism in this period. Ebn-e-Arabi was the first to borrow the term from Ebn-e-Sina AND Sohrevardi in order to describe his specific thoughts on the universe AND the human relation with God. He uses the term to refer to whatever beyond God AND the phenomena which do not have more than IMAGINARY existence. He also uses the term for the Limbo world which is the intermediary between the World of Nature AND the Heavenly World. Prior to him, however, the word "fancy" was used exclusively in the texts of Sufism AND was realized through fantasizing like dream trips, legendary events, heavenly creatures' observations, mental mastery over future AND distant happenings, AND callings of the spirits AND individuals all of which make the source of a lot of Sofistic narratives AND miracles.

Doubtless Nietzsche has got a new figure from the view of the 20th century’s great elites AND many of critics have tried to read his principal philosophical conceptions from a new look. Bachelard who is, himself, a philosopher has played a significant role in this respect. By analyzing the literal images of Nietzsche’s poems AND their relationship with the four nature elements, he found out the evolution of the ideas of this philosopher AND the conflicts in his paradoxical thoughts, so that he reaches the accessional psychism. From Bachelard’s point of view, one who takes these images not as some empty rhetorical figures but as those generated from his dynamic imagination, can then put himself in the center of Nietzsche’s metaphysics. Because by literal images, he could feel the conflict between the nature elements, the mode of their metamorphosis, the conversion of the soil element to the air, the heaviness to lightness AND the falling down to ascension The importance of Bachelard is that he makes complicated AND abstract concepts such as voluntary power, superhuman, vital force, the eternal return, more concrete AND tangible due to poetic metaphors.

Brian Fey, divides concepts into three categories; first, concepts which we use in thinking, second, concepts which we think about, AND third, concept by which we think,. According to this categories, "social IMAGINARY" would be in third category. it means that there is fixed cultural element within each nation which confronting new developments, it affects them. "Social IMAGINARY" is the main concept of Debry’s theory of mediology. this review tries to show that this concept is an interdisciplinary concept of Althusser’s Marxism structural theory AND Jung’s unconscious theory, by using the metatheory. This methodology would help us to know more deeply about a theory. The consequence is that "social IMAGINARY" is a synthesis of political AND psychological theory developed in France.

In this article, imagination AND imagery in the Shahriyar poems will be study AND will try discuss from his certain stylistic features AND innovations in this field. with a regard to this that the imagery AND imagism reveal the attitude of poets AND there point of view we decide hereby demonstrate his particular vision of nature AND the outside world. then we have discussed on stereotyped images in his poems AND have revealed the influence of classic Iranian literature in this field. Consequently is discussed from the innovation in his images AND have declared effect his environment AND his times in his imagery AND new phenomena AND features of contemporary life AND its in his imagism. then we have listed some of his images the result of his personal experiences of rural life in the poems AND effects of rural life in his imagery be studied.

This research aims to study the role of linguistic AND media representation in the formation of geopolitical discourse on IMAGINARY enemy. The current research has been accomplished on the basis of descriptive methodology, linguistic viewpoints AND Foucaudian discourse. As Foucault believes that nothing significant exists outside the discourse, the IMAGINARY enemy is also on world’s cultural AND political structures existing under the framework of discourse AND power relationship in order to political AND cultural hegemony against “other” culture, creed AND sect etc.The results of this study shows that political actors AND media institutions have used different methods such as inhuman representation of rivals, excessive prevalence, selectivity, transition, releasing part of truth, projection, identicalization, resorting to war, labeling, distinguishing, retroversion, projection, negativity AND positivity, discursive closures, selecting bad from worse, using two factual news to legitimize a false one, using signs AND symbols, media credibility, humiliating AND ridiculing, creating fear AND terror, disinformation, delusive generalization, color politics, using false cartographic technique, geopolitical metaphors, message repetition so that they could they could produce AND fix the idea AND image of IMAGINARY enemy on general public opinion.

Contrary to Avicenna who regards IMAGINARY perception as a product of abstraction AND contrary to suhrawardi who regards IMAGINARY perception as a product of suspended forms Mulla Sadra based on his philosophical essentials that are influential on his theory of imagination on the one hAND considers faculty of imagination AND IMAGINARY perceptions as immaterial (conjoined imagination) AND on the other hAND believes in the world of ideas (autonomous imagination) AND its effects on conjoined imagination under the infl1,lenceof Suhrawardi AND Ibn Arab.Although he deems external factors such as the world of ideas as important in acquisition of IMAGINARY perception he regards human soul as the must important. he believes it is human soul that creates IMAGINARY forms with its Godly creativity AND the emanation of the world of ideas AND the observation of ideal forms by the soul just help it create IMAGINARY forms. Whereas Mulla Sadra in addition to believing in soul s descending limbo, belives in soul's ascending limbo through its substantial movement... Suhrawardi regards imagination as a mirror AND as a manifestation of suspended forms in the world of autonomous imagination disregarding ascending limbo.

The desert is at first, a geographic space characterized by the aridity of its climate. This is why it represents an ideal place for the blooming of literary creativity. Objective AND subjective at once, the desert constitutes an ideal field for the deployment of the IMAGINARY. The subjectivity projects itself in here, in its own manner, all over this vacant space, which is though less constraining. Besides, it is necessary to reckon with anguish arisen from the immensity of the desert. The compensatory dynamics of the IMAGINARY replies to this oppressing feeling, while bringing consolation AND relief to the adventurers capable of challenging with the concrete crossing of the desert lANDs. Such association is apparent in the book of the Iranian writer Ali Shariâti called The Deserts which is exposed to the thematic of desert with the acuity of a literary look, indeed the poet’s one. In this article we attempted to figure out certain signs that allow supporting the modalities of the relation between the human IMAGINARY AND the desert in Shariâti’s work.

In Azerbaijani style due to strong language AND motifs, Khaghanie’s poem is outstANDing. Although there are some difficulty in understANDing his verses, but using lingual devices like alliteration, creating new compound, virtual language, coining new words, attention to internal AND external music AND side rhythm, make his poem melodious. High frequency of alligory AND finding new motifs are what make his poem close to Indian style. Of course there are some elements like educated language AND epic tone that make his poetry different from Indian ones. Khaghani also has powerful imaginery AND benefit from folklores AND current belifes of his age in order to endow best effect to his poem.In this article we try to show the aesthetic aspects of his verses AND also distinguish the poetic devices he has practiced AND clarify how these devices can help reader to understAND the beauty of his verses.

The existence of imagination AND imaginative perceptions in cognitive system of human being is a topic all philosophers agree about it, but they disagree about the explanation the way the individual alquire IMAGINARY forms as well as the nature of imagination AND imaginative perceptions. Ibn Sina considers human soul as having various faculties AND considers the imaginative faculty as an intermediate stage in the actualization AND acquisition of perceptual forms.In his different books he propounds arguments for the material nature of imagination AND in consequence of imaginal forms, but apparently such arguments are based on the principles of Islamic tradition, because he ultimately changes his position AND in his "Mubahithat" offers a detailed argument on the abstract nature of imagination AND imagnitive perceptions, although he finds it difficut to justify such a notion on the basis of prepatetic principles. His saying on the different degrees of -intellect, immortality of souls, children's souls AND immortal souls on the stage of material intellect is justifiable with belief in the abstract nature of imagination AND perceptual forms.Suhravardi refuses to accept the multiple inner faculties of Ibn Sina, AND refers all faculties to an entity (Nur al- Muddaber) AND regards these faculties as a shadow of what is in the Nur Esphahbad. For the explanation of acquisition of imaginative perception, he resorts to imaginal world AND suspended ideas.