Lyric includes a wide range of subjects and poetic formats. Specifically, it is a type of poem in which the element of emotion is dominant and naturally it has some components that have made it different from other types. In the present study, the author investigated the indicators of lyrics in the story of Homay and Homayoun by Khaju Kermani and the poet pays attention to rhetorical principles and the relationship with the audience. Components that this study has been written based on them are the personalization of "I" in lyrics and introspection, being romantic-mystical, compounds of lyrics, descriptions, and metaphors, investigation of battles and banquets, etc. which is matched by expressing some examples of Khaju's poems. The general purpose of the research is how these components are manifested in Homay and Homayoun? The result of the research is that; the mighty poet has paid attention to the form and meaning and the way they are used and their impact on the reader. This literal type enjoys a great deal of lyrics value due to the usage of battle and mythological elements by Khaju and ethical points(doctrinal) that are specific to other types, and the emergence of lyrics indicators is outstanding in the way that it covers epic and ethical indicators. The imagination power of the poet and using these features have turned the work into a lyric and made it a special one.

In this article, we investigated and compared kind of lyrical elements used in the Masnavis of Khosro and Shirin, Leyli and Majnoun of Nizami Ganjavi with Masnavis Homay and Homayoun and Gol and Norouz. Cases such as contents and romantic elements, lyrical compositions and expressions, soft and gentle descriptions, sad and lonely atmosphere, connection and exile, lover and beloved, images and visual elements, mentality, language, point of view, and characters, were analyzed and compared. Nizami influenced Khajoo, and whether he has shown initiative and innovation, the comprehensive parts of lyrical and love topics in every Masnavis are interwoven with the poet’s mentalities, feelings, and inner emotions, the present and past. Finding and establishing a connection between the lyrical relationship of both poets answers the questions in their works, what kind of elements have been given more importance in terms of lyrical elements that are not seen in other works? The general purpose of this thesis is to explain and compare the type of expression of lyrical elements in this research, we conclude that Khajooye Kermani, and Nizami Ganjavi, have brought the poetic concepts closer to folk and popular literature with smoothness and simplification.

Homay is a well-known osprey which belongs to predator group. Popularity of this bird in Persian literature is because of its mythological position, as the shadow of this bird over the head of everyone brings him happiness and even makes him king. In ornithology, this bird is placed in Vulture family.Homa (Homia, Hooma or Homaie or Homiay) in Avesta means happy. In Shahnameh, there is a reference to “Homay peykar” (Homay body) awl. Also in Avesta, there is a reference to a bird called Warghan, which splendor was separated from Jamshid's body in the form of this bird. Some called Warghan as Symorgh or royal falcon and some, following Professor F. Wolf, called it falcon. Dr. Moien stated that Warghan is one of Homay’s meanings. Warghan bird is mistaken by Symorgh, but in fact Warghan is modern Homay. Although Homay is a famous bird there are scarce writings about it so that in 7 volumes of articles indexd by Iraj Afshar, which include 1908-1998, there is no article about it. This holds true in Iranica Encyclopedia, too. Thus we can say that this is the first article about Homay in Persian language.

Homay Nameh is a barely known heroic epic belonging to about sixth or seventh century in Persian Literature whose anonymous composer makes it worthy of analysis. This research is based on the methods put forward by the prominent structuralists such as Vladimir Prop, Arthur Asa Berger and Paul Ricoeur in the domain of morphology of stories, folk, mythic and epic tales. The outcome of the analysis shows that the story is composed of a general framework encompassing the starting point, events arising from shortcomings and evil doings and a happy ending for the hero. The morphological analysis of Homay Nameh can be embarked upon on the basis of significant elements such as character, motivation, function, movement, and repetition in order to follow the sequence of actions in this epic. The seven multifaceted characters in the story is reminiscent of characters in Prop's theory with one difference that in place of "false hero" the character of "hero's successor" is present.The number of main functional titles considering the repetition is eighty three. It must be emphasized that some functions in comparison with Prop's theory are new and some similar titles present novel concepts. The functions of "war" and "victory" are among the most repetitive elements of the story and from the movement point of view the story makes use of the combination of three manners of story movements and that of movement pattern proposed by Berger. Once the structure of a heroic epic, in particular epic romance found, one can seek the format in other similar works.

“ Homay-o-Humayun” by Khajou Kermani is an 8th century AH collection of stories relating the demanding journey undertaken by Homay, the Syrian prince, to reach his beloved, Homayoun, the Chinese princes. Based on the model of Vladimir Prop, this study intends to find the characters of the story and their functions and also to investigate the mythological sub-structures within the structure of the story. Previous studies solely regard the narrative aspect of the story and do not deal with the mythological aspect. The structure of the poem consists of six characters and eleven functions. The story ends with the success of the hero. This story, in some ways, has a mythical structure which has been extracted using mythological sources. One can look for the origin of some of these patterns in Iranian myths, and some others can be traced back in the mythology of other nations. The basic structure of the story takes form on defamiliarization.

This article offers a brief account of the life and editorial career of Homayoun Moein, a masterful editor of mathematical texts in the post-revolution era. It also examines his work environment at the Iran University Press (Markaz-e ‎Nashr-e Daneshgahi), the institution’s remarkable dedication to editing, and its role in advancing the quality of academic publications.

One of the common theories focused on politics, society, and state in Iran is the "theory of despotism". Many Iranian and non-Iranian thinkers have commented and even theorized about why and how the emergence, formation, and continuation of "despotism" in Iran. Mohammad Ali (Homayoun) Katozian is one of the Iranian scholars who have proposed the view of "despotism" on the history of Iran. In Katouzian's view, Iranian society and state have historically been in a cycle of "despotism, chaos, chaos, and despotism". In this view, Iranian society has always been either plagued by despotism or by chaos, conflict, and strife. Katozian's view emphasizes the comprehensive impact of authoritarian political power on other dimensions of society. The question is whether Katozian's view of Iranian despotism is a result of the whole of Iranian history? The findings indicate that Katozian's view is not relevant to the entire history of Iran and this article examines this discrepancy. The method of the article is descriptive-analytical.

SamName is one of the heroic poems about the courage of Sam Nariman, which was written in imitation of Ferdowsi's Shahname. Knowing the composer of this poem and also the period of its composition is one of the complex topics of Iranian epic literature. In some recent sources, SamName has been attributed to Khajooie Kermani, the famous poet of the eighth century, and the attention to this point and the mention of Khajou in a number verses of this poem, the authenticity of which is doubtful, has caused some scholars to consider the SamName as the poem of this poet. However, a number of other scholars have rejected this attribution. Recently, by examining the manuscript versions of the ShabrangName and based on the phrase at the end of one of its manuscripts, a researcher has hypothesized that SamName is the poem of an anonymous poet named Khajou Shahname Khan Korati. In this paper, we first examine the different opinions and theories of researchers about the narrator of the system, then by providing the final verses of one of the manuscripts of this poem, we that the poet of SamName as Khajou Shahname Khan, , he composed this poem around the tenth century. Methodology The Research method: in this paper is library and fiching (indexing). Among orientalists, Spiegel was the first one who considered the SamName as the composition of Khajou. After him, Jules Moll referred to the SamName, in the Introduction: of Shahname, without mentioning its composer and only wrote that its source goes back to the stories of the Sassanid period. Shortly afterward, Herman Ateh considered it a kind of forgery and change of Homay and Homayoun prepared by Khajoui Kermani, without mentioning the composer of SamName, Jan Ripka also called the SamName shameless plagiarism of Homay and Homayoun and argue that it belongs to the Timurid period. In Iran, Bahman Sarkarati was the first one who hypothesized that perhaps a poet named Khajou, and not the famous Khajavi Kermani, composed the system with little literacy. Shortly later, Mahmoud Abedi wrote in an article that the composer of SamName is apparently someone from the class of narrators, storytellers, and familiar with the Shahname and Garshasbname, which is attached to verbal folklore stories. After rejecting the attribution of the system to Khajoo, Vahid Royani, the editor of the SamName, considered it a combination of Homay and Homayoun with some folk tales, which probably happened from the tenth century onwards. By investigating these disagreements, the aim of this study is to introduce the true poet of the SamName and to clarify one of the ambiguities of Iranian epic literature. Discussion: In a number of manuscripts of SamName, Khajoo has been introduced as the composer of SamName. Examining these verses, we can find that these poems are taken from Homay and Homayoun of Khajavi Kermani, which entered into some manuscripts of SamName. Therefore, they cannot be cited when investigating the poet of SamName, because it is not the composition of the poet of the SamName on the one hand, and also in is not mentioned in most manuscripts of this poem on the other hand. However, most of the people who considered the SamName to be a poem of Khajou, have cited these verses. One of the noteworthy evidences associated with the composer of SamName is the phrases appeared at the end of one of the manuscripts of Faramarzname, which Shabrangname has been written before that. In this version, a poet named "Maulana Khajoui Shahname Khan Karati" is mentioned. Based on this phrase and by examining and matching the manuscripts of Shebrangname, Abolfazl Khatibi guesses that Khajavi Shahname Khan Karati was an anonymous poet who plagiarized the two poems of small Faramarzname and Shebrangname. This researcher also writes about the Samname that until convincing evidence is found, it can be assumed that around the tenth century AH, a poet named Khajoui Shahname Khan Karati, which it is obvious from his title is Shahname Khan, and attached to epic poems, has composed SamName as a combination of Homay and Homayoun of Khajoui Kermani, by changing the name of Homay to Sam and Homayoun to Paridokht, in addition to creating some other poems about Sam and Paridokht, which were popular among the people at that time. Although Khatibi could not provide evidence to prove his conjecture, the author eventually obtained a manuscript of the poem that confirmed the researcher's conjecture. Conclusion: At the end of the manuscript of this poem dated 1129 AH, registered in the National Library of Tabriz, the poet mentions his name and title, Khajoui Shahname Khan, and he is undoubtedly the same Khajoui Shahname Khan Karati that Khatibi has mentioned in his article. Apart from the art of reading Shahname, Khajoui Karati was also a poet, and he may have read the poems of SamName to the people. Khajoui Karati did not study in the presence of any teacher and what he had learned was due to his attachment to reading and learning, and apparently, this has caused loose verses in his poem and perhaps the inclusion of Homay and Homayoun verses in his system, or changing some of its verses was due to his little illiteracy and lack of knowledge of the principles of poetry.

The present article examines the writings of Dr. Nasser Takmil Homayoun, a prominent contemporary historian and sociologist, with a special emphasis on his works in the Qajar period. Most of his writings are researches on the history and society of Qajar. Thus the main question of the present article is whether Takmil Homayoun been able to adhere to the principles of historiography and especially sociology in his writings? Despite his specialized education in sociology, he seems to have considered himself mainly a historian and he did not pay much attention to the principles and rules of sociology so that his works in the field of use of sociological concepts, methods and theories, and sociological explanations are devoid of such criteria and even in some of his most important writings, a conflict with sociological methods and explanations is evident. Therefore, the present article evaluates the works of Takmil Homayoun on three levels: definition of concepts and conceptual anachronism, Doxa perspective, and poverty of sociological methods and theories.

Introduction: The aim of this study was to get to a neurological evaluation of one of the Persian music scales, Homayoun, on brain activation of non-musician subjects. We selected this scale because Homayoun is one of the main scales in Persian classical music which is similar to minor mode in western scales.Methods: This study was performed on 19 right handed subjects, Aging 22-31. Here some pieces from Homayoun Dastgah are used in both rhythmic and nonrhythmic.Result: The results of this study revealed the brain activities for each of rhythmic and non-rhythmic versions of Homayoun Dastgah. The activated regions for nonrhythmic Homayoun contained: right and left Subcallosal Cortex, left Medial Frontal cortex, left anterior Cingulate Gyrus, left Frontal Pole and for rhythmic Homayoun contained: left Precentral Gyrus, left Precuneous Cortex, left anterior Supramarginal, left Superior Parietal Lobule, left Postcentral Gyrus. Also, we acquired amygdala area in both pieces of music.Discussion: Based on arousal effects of rhythm and Damasio's somatic marker hypothesis, non-rhythmic Homayoun activates regions related to emotion and thinking while activity of rhythmic Homayoun is related to areas of movement and motion.