Pouranamardian is one of the prominent critics and scholars of Iranian literary society, whose poetic aspect has been underestimated. Indeed, under the influence of Nima and his followers, like Shamloo, as well as his own studies on mysticism and symbolic stories, Pouranamardian has a particular tendency to symbolic expression in his poems. Many of these symbols can be placed in the domains of mystical symbols and Social or epic ones. The present article tries to study the mystical and Social Symbolism in the poems of Pournamdarian, considering the context of his detailed research in this field as well as the political and Social conditions prevailing at the time of composing his poems. The methodology of the research is based on content analysis; it contains an introduction about Symbolism and biography of Pournamdarian. Then, his poetry book, Rahrovan Bi-Bargh (Leafless followers) and the mystical and Social symbols in his poems are analyzed and discussed. The results show that the poet's studies on mysticism and thinking about Muslim mystics have been very effective in creating the mystical symbols of his poems. Also, the results show that due to the specific political and Social circumstances of the era of the imperial regime and the ruling tyranny (the second Pahlavi era), Pournamdarian turns inevitably to Symbolism, and he portrays the crisis-ridden society of his age with a symbolic expression.

If we want to divide the contemporary persian poetry in to certain currents, undoubtedly, one of the most important of them will be the Social Symbolism Current. This current was established by Nima, and his poem named "Ghoghnoos" was the first experience of this kind of this kind of poetry. After Nima, the poets who continued this current of poetry Consist of Shamloo, Akhavan, Forroogh, Kasrayi, Shahroodi, Atashi, Azad, Khoei, Shafiei Kadkani, etc. The climax of this current is the decades of thirty any fourty of present century. Symbolism and Socialism are two important features of the poetry in this current. with symbolic language, poets of this current reflect the Social and political afairs of their time in the poetry. Poetry in this current is the poetry of engagement and commitment. Being thoughtful, is the other important feature of this poetry current; Because, in this current, beside the two elements of feeling and imagination, thought and contemplation are stressed upon. Using epic expression style and vocabularies are the other characteristics of this poetry current.

In the second stage of her poetry, Forugh Farrohkzad has used figures of speech to lead language to its literary state. Among her influential literary techniques in poetry, Symbolism is prominent. In her poems many words are used as symbols in various positions. They convey different meanings. One of the most attractive symbols of Forugh’s poems is water, and in this paper we will deal with it.

The ethical actions are important because of the priority of the mission goal and their close relationship with Social progress and development. Therefore, the purpose of this research is the identification and Social analysis of these types of actions among the verses of revelation and it deals with the effect of ethical actions in the production of Social capital in the process of progress based on religious teachings and answers these questions based on the Quranic teachings. What impact do ethical actions (behavior) have on the formation of Social progress? How do moral actions generate Social capital and influence progress (development)? What coordinates, examples and dimensions does this group of actions have? What are the effects and consequences of this group of actions? Those actions that are desirable and progressive in the development of Social interactions have been Socially studied, analyzed and searched by using the inductive content analysis method. Honesty, trustworthiness and fulfillment of an obligation, altruism (Arabic: إیثار, self-sacrifice), asking forgiveness or istighfār (Arabic: استغفار ʾistiġfār), and forgiving others, kindness, non-violence, chastity and purity, patience and honesty and benevolent actions combined with Social supervision have been discussed, which lead to sincerity, togetherness, coherence and expansion of Social interactions and emotional relationships far from hatred and warm and emotional relationships and as a result, it causes the production of Social capital and its improvement and will lead to the density of actions focused on purpose and excellence that are necessary for progress.

The impact of spiritual mentality, on the one hand, and confrontation with touchable realities of war and the devotion and bravery of the war warriors and martyrs on the other hand, led the poets of Islamic Revolution and Imposed War to go beyond the report-like description in explaining the realities. By using religious and mystical heritages, they have attained a symbolic language, while realistic, has relationship with their own religious and mystical mentality on the one hand, and with the religious and mystical ideals of the warriors, on the other hand. Therefore some parts of such poems are not restricted to the boundaries of realism, but follow a theological and mystical Symbolism, and while shaped in realism, are changed into a Social Symbolism.In the Literature of Revolution, the depth of revolution poems profit from religious and mystical literature had been to an extent that this Symbolism has become permanent in it. Consequently, we witness the emergence of a new Symbolism which unlike the major sections of pre-revolution contemporary literature, has theological and religious roots. This new Symbolisms a compound which is counted among the Social symbols of contemporary literature with respect to image, but regarding the meaning, it is full of mystical symbols which is the heritage of ancient literature. In fact, it could be said that Social Symbolism of Islamic Revolution is a connection between the traditional mystical literature and contemporary literature. After discussing about Social Symbolism, the authors of the paper have tried to analyze and interpret several poems of distinguished poets from the viewpoint of Social Symbolism.By virtue of the plurality and variety of symbols, it has been proved that Social Symbolism is not just an incident in the poems of Holy War, but a deeply rooted and continuous CU/7"enwthich makes them distinct and different from the past.

Attar, the Sufi and eminent poet of the twelfth, century, is the owner of several precious long narrative poems (masnavi). He has not written his poems for nobles or ornamented them with art of speech, but his mysterious stories present him as a symbolist poet. The Sufi poet has based his stories on some secrets and applied the characters as symbols whose motions and postures denote mysterious concepts of his fables.This paper appraises the cryptic and theosophical aspects of The Seven Valleys (Haft-Wadi) and The City of Love (Shahr-e-Eshgh) in Attar’s Mantegh-ot-tayr and also studies the symbolic concept of Elahi-Nama, his other long narrative poems, and the symbols applied in the poems. These symbols embrace both Social and theosophical aspects in which the theosophical part is more distinguished.

Taj Mahal is one of the most famous historical shrine from seventieth century that is present and is one of the most important spaces in the world.Due to surveys, it can be said that Taj Mahal is the most symbolic tombs from architectural view and it could be expected that some concepts and symbolic aspects have not surveyed yet enough, because this complex that is in relation with Iranian architecture, haven't studied by Iranian researchers, and it seems that non Iranian researchers who studied about Taj Mahal, haven't compare it with Iranian buildings and architectural concepts.Study about Taj Mahal is important and necessary for Iranian experts, because it seems that it have been designed in relation with Iranian architectural patterns.The recognition of some symbolic aspects of this complex, and comparison them with Iranian architecture are the main aims of this research. The questions are these: 1) What concepts and symbols have been considered in the design and construction of Taj Mahal? 2) What are the relations between Taj Mahal design and Iranian architecture? Five hypothesis about the high concepts and Symbolism in Taj Mahal and relations between it and Iranian architecture have been presented:1) Design four areas, is an innovation in application of number four in architectural design.2) The composition of Hasht Behasht, has drived from the structure of quadripartit plans such as the plan of Chahar Tagh in Apadana.3) The hierarchy between four areas, is a reflection of kind movement from mundane to heaven.4) The five parts composition of one dome and four chatri around it, has Iranian origin.5) The triplex composition of domes in mosque and in house guest, has been Iranian origin too.The research method has been historical interpretational and data was classified in the form of descriptive and analytical and data have been gathered in documentary form and by field study.The theoretical framework has been based on cultural and symbolic view in architecture. On the basis of this observation, cultural and religious phenomena have been used in design of cultural and religious buildings such as tombs and temples.The results of the research shows that there have been many relations between Iranian architecture and the designing of Taj Mahal. Because many of important architectural elements those ware used in design and construction of Taj Mahal such as dome, minar and Iran (balcony) are the elements of Iranian architecture and we can not imagine that many of important Iranian architectural elements and designs (such as Chahar Tagh, chahar Iran ,chahar sou, chahar bagh, chahar minar and Hasht behsht) were used accidentalfy. Some of these hypothesis can be considered as a new outlook to the ways of recognition and analysis of religious and ceremonial buildings.Emphasis on visual and symbolic symmetry exemplified by the design and construction of a mosque and guest house with the same plan on the sides of the mausoleum resulting in a view and a spatial composition unseen before.

Symbolism is a major trend in contemporary poetry, serving as a key to unlocking the poet’s semantic network and revealing their literary identity and style. By interpreting symbols, readers gain deeper insight into the poet’s thematic concerns and artistic expression. Symbolism is particularly prominent in the works of several post-Revolution poets, including Fazel Nazari. Nazari is a widely-read poet of the 2000s whose works primarily explore mystical, moral, and Social themes. The ghazal is the sole poetic form he employs. Like other contemporary ghazal composers, Nazari adopts an intimate tone and incorporates archaic words, expressions, and symbols within a modern context. However, the thematic orientation of Symbolism in his ghazals significantly differs from that of neoclassical poets. He conveys mystical concepts implicitly, using innovative and artistic methods that engage the audience on multiple levels. This paper seeks to answer the following questions using library research and a descriptive-analytical approach: Has Fazel Nazari extensively employed Symbolism in his works? What are the primary themes of his symbolic language? What is the typology of mystical symbols in both the repetitive and innovative aspects of his poetry? How has mystical Symbolism evolved across his books Gerye-haye Emperatoor (Emperor’s Tears), Aghaliyat (Minority), Anha (They), Zed (Opponent), and Ketab (Book)? According to our findings, mystical symbols in Nazari’s works can be categorized into formal and knowledge-related Sufi symbols (26%) and general symbolic words and expressions (74%). The general symbolic vocabulary primarily relates to religion (32%), physical objects (15%), wine-drinking (12%), animals (9%), and body parts (6%). Among his books, Zed contains the highest proportion of Symbolism (22%), while Ketab features the least (18%).Introduction A symbol refers to a relatively vague word or expression that signifies a broad semantic network extending beyond its literal meaning. Its precise interpretation can never be fully exhausted. A symbol comprises two components: a form and a conceptual field. The form is connected to the physical, tangible world, while the concept relates to the invisible, spiritual realm (Jung, 2014).Understanding the significance of symbolic language throughout different historical periods has led to its widespread use in artistic and literary works across human societies. A notable example is the rise of literary Symbolism in Europe between 1850 and 1920 (Parham, 2015). This Western literary movement profoundly influenced Persian literature (Poornamdarian, 1996). The tradition of literary Symbolism persisted well beyond the Islamic Revolution in Iran.In post-Revolution Iranian literature, which fostered a deep intertwining of mysticism and poetry, Symbolism created a fresh atmosphere in both poetry and prose. It paved the way for new religious, epic, and mystical expressions. Poets who embraced Islamic values and beliefs began to compose works infused with religious and mystical themes—concepts rooted both in the Quran and the teachings of the Imams (Kazemi, 2011).Fazel Nazari is a young, contemporary Iranian poet and one of the most influential literary figures of the 2000s. His ghazals extensively incorporate religious and mystical themes, and the prominent intellectual and literary qualities of his poetry—particularly his use of mystical Symbolism—warrant thorough examination.This paper aims to answer several key questions through library research and a descriptive-analytical approach: Has Nazari employed implicit, symbolic forms of expression in his poetry? If so, which types of symbols dominate his works? And does his symbolic language effectively convey mystical concepts?The study begins by exploring the reasons behind the use of Symbolism in contemporary poetry, followed by a discussion of mystical Symbolism within both Persian literary tradition and Nazari’s poetry specifically. Mystical symbols in Nazari’s poems fall into two main categories: 1) formal and knowledge-related Sufi symbols; and 2) symbolic words and expressions, including a) wine-drinking, b) body parts, c) nature, d) religious imagery, e) objects, and f) animals.From another perspective, symbols in his poetry can be classified as either innovative (i.e., personal) or repetitive. Repetitive symbols further divide into two types: a) those reflecting concepts commonly found in classical literature, and b) those representing repetitive symbols with new conceptualizations.1.1. Literature ReviewSeveral studies have already addressed the issue of Symbolism in Fazel Nazari’s works. Poornamdarian, Radfar, and Shakeri (2012) explore symbols in contemporary Persian poetry more broadly. Salehi-Parsa (2013) discusses the aesthetic aspects of Nazari’s ghazals, briefly touching upon Symbolism in his poetry. Bidkhooni (2014), in a study titled A Thematic and Stylistic Analysis of Fazel Nazari’s Ghazals, examines Nazari’s distinctive literary style. Tajdini (2015) investigates Symbolism in Molavi’s poetry, providing relevant context for mystical Symbolism in Persian literature. Additionally, Fallah and Zare’i (2015) analyze Nazari’s style, arguing that his poetry aligns with the Hindi school of poetry.Discussion and ConclusionIn addition to other figures of speech, Fazel Nazari places special emphasis on Symbolism to convey his ideas. He employs both repetitive and innovative symbols to create vivid symbolic imagery. As a meaning-oriented poet, Nazari’s Symbolism holds significant mystical potential, with his poems leaning more toward mystical themes than Social, moral, or political ones. While his intimate tone and use of archaic words and symbols within a modern context resemble those of neoclassical poets—particularly Hossein Monzavi—his intellectual foundation differs, being deeply rooted in Islamic mysticism. Nazari utilizes formal and knowledge-related Sufi expressions alongside symbolic words related to nature, animals, body parts, objects, and more to implicitly communicate his mystical concepts, thereby enriching his poetry. Over time, as his work evolves, his use of Symbolism increasingly aligns with that of his contemporary poets. A notable correlation emerges between the decreasing frequency of symbolic language and the growing intimacy of his tone and language, eventually rendering his Symbolism similar to that of other contemporary poets.Our findings indicate that formal and knowledge-related Sufi symbols occur less frequently and exhibit less variety compared to other symbolic words and expressions (see Diagram 1).Diagram 1: Comparison of the frequency of formal and knowledge-related Sufist symbols with other symbolic words and expressions in Nazari’s works  The highest frequency of symbolic words, in a descending order, belongs to religion, nature, objects, wine-drinking, animals, and parts of body. (Diagram 2)Diagram 2: Frequency of the types of symbolic words and expressions (in percentage) The Symbolism that became prevalent after the Islamic Revolution and the deep connection between mysticism and poetry have created a new atmosphere in prose and poetry in which Nazari’s Islamic values are associated with religious, epic, and mystical approaches, leading to extensive use of religious Symbolism in his works. Next to religious symbols, the most frequent symbols are those related to nature. It seems that the poet makes perfect use of the perceptible elements of nature that are flexible and easily available, thus increasing the beauty and delicacy of his words by associating mysticism and nature.In using symbolic words and expressions, Nazari is close to his contemporary poets. His innovative symbols are mostly those related to physical objects. Wine-drinking symbols tend to increase the effect and attractiveness of his poems and create extra meaning layers for those who seek heavenly concepts.Among Nazari’s works, the frequency of symbols is highest in Zed and lowest in Ketab (Diagram 3). The increasing frequency of Symbolism in Nazari’s works from Gerye-haye Emperatoor to Zed is indicative of assimilating to his contemporary poets and decreased mental occupations. The Symbolism is reduced in Ketab due to the poet’s increased experience as well as his managerial and administrative posts. Innovative symbols are less than repetitive ones. In repetitive symbols, the poet’s creativity is restricted to the reconceptualization of existing symbols.Diagram 3: Usage of mystical symbols The poet’s remarkable attention to the word ‘love’ which is the most frequent word in his works is due to the high frequency of the formal and knowledge-related Sufist words in comparison with other symbolic words and expressions (Diagram 4). The highest frequency of the formal and knowledge-related Sufist words is found in Zed, and ‘love’ is the most frequent word in this book. This might be explained by the poet’s explicit statement on the back cover of the book that the word ‘Zed’ (meaning ‘opponent’) refers to human soul. The high frequency of the word ‘love’ implies that love of God is the key to relief from one’s self. Gerye-haye Emperatoor mainly deals with human’s frustrations as the representative of God on Earth. In this book, the frequency of ‘love’ is less than other formal expressions of Sufism.Diagram 4: Usage of ‘love’ and other formal and knowledge-related words of Sufism - Gerye-haye Emperatoor (Emperor’s Tears): This book was published in 2003 as Nazari’s first work. Presence of individualized themes, use of archaic symbols, frequency of innovative symbolic words, and Symbolism on single lines of verse are more prominent than in his other works. The symbols used in order of frequency include formal knowledge-related words of Sufism, religion, nature, wine-drinking, physical objects, animals, and parts of body (Diagram 5).Diagram 5: Frequency of symbols in Gerye-haye Emperatoor - Aghaliyat (Minority): It is Nazari’s second book which was published in 2006. It contains the same themes and Symbolism (use of archaic symbols) as Gerye-haye Emperatoor in a more implicit manner. The frequency of symbols, however, shows an increase. The symbols used in order of frequency include formal knowledge-related words of Sufism, religion, nature, animals, wine-drinking, physical objects, and parts of body (Diagram 6).Diagram 6: Frequency of symbols in Aghaliyat - Anha (They): It is Nazari’s second book which was published in 2009. In this book, modernized symbols are more frequent, especially in the field of religion and physical objects, and coherence between the lines of poems is stronger. The symbols used in order of frequency include religion, formal knowledge-related words of Sufism, nature, physical objects, wine-drinking, parts of body, and animals (Diagram 7).Diagram 7: Frequency of symbols in Anha - Zed (Opponent): Published in 2013, this book is the apex of mystical conceptualization among Nazari’s works and its form and structure have approached modern language. The symbols used in order of frequency include formal knowledge-related words of Sufism, religion, physical objects, nature, animals, wine-drinking, and parts of body (Diagram 8)Diagram 8: Frequency of symbols in Zed - Ketab (Book): The book was published in 2016. Its language is completely modern rather than archaic. Although Nazari has focused more on literary devices, mystical themes and symbols are on the decline and Symbolism has a decreasing trend. The reason seems to be personal factors (careers and job-related preoccupations). The symbols used in order of frequency include formal words of Sufism, religion, nature, wine-drinking, physical objects, animals, and parts of body (Diagram 9).Diagram 9: Frequency of symbols in Ketab Regarding mystical Symbolism, both repetitive and innovative symbols are extensively employed across Nazari’s works Gerye-haye Emperatoor, Anha, Aghaliyat, Zed, and Ketab. These symbols can be categorized into two types: formal and knowledge-related Sufi symbols, and symbolic words and expressions. Among these collections, Zed contains the highest concentration of mystical symbols, while Ketab has the least.Nazari’s mystical Symbolism shares similarities with that of neoclassical poets in form; however, its content differs significantly, as his poetry is deeply rooted in pure Islamic thought. He utilizes mystical Symbolism not only to enrich the aesthetic appeal of his verse but also to implicitly convey profound mystical concepts.