Ta'ziyeh is one of religious ceremonies in Iran. As an Iranian tradition, is a ritual that reenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre In Ashura. This Play is a kind of comprehensive indigenous form considered as being the national form of Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning for Siavush). “Some believe that Iman Hossein's tragedy as depicted in Taziah is the next recreation of the legend of Siavash”In Iranian tradition, ta'zieh and “shabihkhani”, inspired by historical and religious events, symbolize epic spirit and resistance. The common themes are heroic tales of love and sacrifice and of resistance against the evil. Shabihkhani as a good example, is a form of theatre in which actors make dialogues through songs. The confrontation between good and evil, war events and bravery of great people have always been one of the main subjects in Shabihkhani. Music plays a Fundamental role in Shabihkhani and improves its dramatic aspects. It incorporates a number of performing arts, such as acting, scenery, costumes and using different musical instruments.In Iranian Ta'zieh, the space is very important. Originally, Ta'zieh dramas, like other Western passion plays, were performed in a public arena, allowing large audiences to convene. They later moved to smaller spaces like courtyards and spaces within the homes of private citizens, but eventually ended up being performed in temporarily constructed performance spaces called Tekyehs or husseiniyehs. Tekyehs were somewhat open-air, but almost always had awnings of sorts atop the building to shield the spectators and actors from sun and rain. All performers in a Ta'zieh ceremony never leave the stage. The stage is elevated between one and two feet from the ground and split into four areas: one for the protagonists, antagonists, smaller subplots, and propsAlthough it is a very traditional ceremony for Iranian people, but we can claim that it had reached its peak during the Qajar period thanks, in particular, to the great interest shown by the Qajar Kings, especially Nasser al-Din Shah (1848-1896). After returning from England, he ordered his engineers to build a place very similar to “Albert Hall” in which he could have similar plays like opera in his own town. So “Tekye Dowlat” was Built in Golestan Palace, and became an Iranian example of an opera house. Due to most people’s religious beliefs, it couldn’t happen but became a very suitable place or kind of Theatre to perform religious ceremonies like Shabihkhani.Performing this shabihkhani in Tekye Dowlat, with king’s support and thousands of audiences, made the show “an annual festival” which was held in Muharram, and all the groups and actors were trying to do their best during this playing festival. According to the large number of audiences, stage and costumes were designed with special purposes. The stage was circular so actors were free to contact and also If a person was traveling in a circle on or around the stage, that meant they were going a long distance (usually represented the distance between Mecca and Karbala). Traveling in a straight line represented a shorter distance traveled.The main goal of designing the costumes was not to be historically accurate, but to help the audience recognize which type of character they were looking at. Villains were the Sunni opponents of Imam Hussein. They were always dressed in red. The protagonists, family members of Hussein, were dressed in green if they were male characters. Anyone about to die was in white. Women were always portrayed by men in all black. One way to distinguish character besides the color of their costume was how they deliver their lines. The protagonists or family of Imam Hussein sang or chant their lines and the villains declaimed their lines.Alongside all these visual elements and playing styles, there is one more thing that makes shabihkhani similar to opera. And that is the Tragic aspects of the play. Although there are slight differences in the content and style, but they have many in common.In this paper, we tried to find the answer of two questions. Has opera been influential in the structural evolution of Shabihkhani, and how has this show emerged as an Iranian show? we studied a brief history of Tazieh and the procedure of turning this ceremony to Shabihkhani, and also the effect of the "Tekye Dowlat" in the prosperity of Shabihkahni and the performance characteristics of this show.The results showed that the performance style, dramatic and tragic content and having a deep impact on the audience are among the key features of shabihkhani and opera.What distinguishes Shabihkhani from this European show is the replacement of some performing and content features with Iranian ones. The performance quality and the popularity of Shabih khani during Qajar (and building Tekye Dowlat) deformed this show into a kind of annual festival. The palying groups understood the importance of these annual shows and competed for a better and more effective performance. After Qajar, due to many different factors, the performance quality of this show has declined and lost its popularity and audience.

Mahmood Dowlat Abadi is the greatest prose writer of Post-Revolution Iran. He achieved a rich and elegant prose by combining the possibilities of different literary genres and dialects of Persian in the past and present, such as the plain prose of the Samanid era, the possibilities of ancient literary and poetical language, extracts from contemporary literary language, selections from the dialect spoken in Khorassan and his own linguistic innovations. In Kalidar, he concurrently illustrates the three historical periods: 1. pastoralism and nomadism 2. agriculture and feudalism, and 3. urbanism and capitalism. Thus, he highlights the simultaneous existence of these periods, which he describes as "the passed life of the aged", depicts the resistance of traditional systems against the law of change and evolution, and portrays the means of livelihood, thought and culture governing these systems (of which language is a constituting part) in a romantic, epical, emotional and gloomy atmosphere.

Tekye (Monastery), place with a spiritual-traditional basis, has long been of interest tore searchers. In fact after Mosques, Monasteries are counted as spiritual base for Muslims especially Shia, and are among the integral elements of the physical body of most Iran cities and villages. This place was used in mourning days, especially Muharram days, for Taziehkhani, Shabihkhani, Pardehkhani, and sinehzaniceremonies. Considering the importance of the spiritual-traditional base, this study is seeking the analysis of different dimensions of the formation way, transformation, and the application of Tekye in Iran from the late Safavid period until the fall of the Pahlavi. This study was performed using the descriptive and analytical methods, based on field and library researches.

The narrations of Mahmoud Dowlat-abadi can be considered as a prism which should be criticized in different aspects. There are threads of realistic, naturalistic and somehow surrealistic thoughts in his works. Due to the wide range of subjects, we try to analyze just a few of his naturalistic thoughts in present article.Naturalism is the extremist form of realism. This school of literary theory assumes behavior, tendency and thought as the results of natural desires and instincts. It respects any supernatural phenomena and interprets all the facts and phenomena of nature and natural sciences. Naturalism, in literature, emphasizes on inheritance of environment and viewing life apart from idealism and tries, in this way, to draw the details even unpleasantly. Literary naturalism entered Iran in the period of Constitutional Movement through translation of foreign works and impacted some Iranian authors such as Sadegh Hedayat, and Sadegh Choobak. This article has studied, in a descriptive-analytic manner, the influence of naturalism on the works of Mahmoud Dowlat-abadi.

Statement of the problem: The components of the historical core of Tehran used to be integrated and united in the past; that is to say despite the plurality of the constituents of Tehran, its original form was featured with unique identity and integrity.Dramatic and fast growth in Tehran city has caused acute problems whose roots are different socio-economic - political and cultural issues.Such problems have reinforced a negative image of the city.The coherent image of the city in the past included the mass of constructions, buildings, roads (open and covered paths) and open spaces (fields and squares). The disunity or disintegration among the urban components has been caused by two factors: a) Rapid development of the city without considering the rules of historical zones and b) the production of massive and irrational architecture. Currently, the concept of the city has undergone serious changes in terms of social relations and values.The problem is that the historical context of Tehran has seen such a drastic change despite the effort of urban organizations.Fifteen Khordad Avenue, between Cirus and Galobandak crossroads, is one of the most important historical axes in Tehran.Purpose: This axis used to link the government with people in the past and was a platform for social interactions in Tehran.It has been Takiyeh Dowlat that has already changed its historical identity.This research attempts to investigate how historical identity of Takiyeh Dowlat as the center of social interactions of Tehran city can be revived.Method: The research method in the available studies is analytical-descriptive. The present study is applied-developmental in nature. This historical area of the city was analyzed and to identify the factors promoting the relationship between the city and the citizen while maintaining the sustainability and historical authenticity of the urban open space..Conclusion: This research aims to compare the historical open space of Tekyieh Dowlat with the only painting which has been remained from this building. Based on the field and analytical analysis, the study concludes that by revitalizing values through Tekyieh Dowlat, the lost originality and historical identity of this urban area would certainly be reconstructed.

Mahmoud Dowlat Abadi belongs to the third generations of Iranian novelist who undeniably occupies a great place in contemporary novel writing, especially in regional literature. This aspect of his writing needs to be looked at seriously. Thus, the present article tries to study the narrative techniques of his novels from the stylistic point of view. As it is proved in the article, he has succeeded in mixing different old and local folkloric narrations with specific syntactic structures and extended sensical similies that are employed in his stories contexts which have made him a distinguished novelist of present time.

Problem statement: The building of Tekyeh Dowlat in Tehran has always created many arguments and questions among the researchers in conservation and architecture history. The main axis of these questions relates to the building’s history and the relationship between Royal Albert Hall and Tekyeh Dowlat building. There are conflicting statements approving and neglecting Tekyeh Dowlat architectural originality within researchers. A number of people referred to the trip of Nasereddin Shah to Europe and his visit to Royal Albert Hall building and believed he wanted to construct a similar building in Iran. Others deny this idea believing that this trip occurred after the construction of Tekyeh Dowlat, thus this reasoning is wrong.Research goal: the main aims of this research is explaining the role of Tekyeh Dowlat in Iranian architecture history by comparing the construction technique to Royal Albert Hall.Research Methodology: In the present study tries to find evidence about building construction techniques for both buildings through historical studies and comparative-historical analysis of the documents, especially those dealing with the architecture and structure of Royal Albert Hall – that was found in British history archive –and finally answer the question “what is the relationship between Tekyeh Dowlat and Royal Albert Hall buildings.Research result: Results from this study suggest that despite the similarity of Tekyeh Dowlat and Royal Albert Hall, Tekyeh Dowlat building is recognized as a valuable and important example in Iranian architecture history due to its use of construction technique derived from Iranian architecture. Tekyeh Dowlat’s construction began a year after Royal Albert Hall’s on 1868. Based on this result, the present study emphasizes on the role of construction technique studies for answering architectural history questions and considering it as an unlimited component of architecture history studies, especially the history of Iranian architectural evolution. This study means to eliminate the existing weaknesses in Iranian architectural studies, trying to find logical and rational answers about construction date of historical buildings in general and Tekyeh Dowlat in particular, avoiding myths and providing a general method for similar studies.

Comparative literature intends to examine the historical relations between the literary works of two nations by the way of discovering their implicit links and contrasting their artistic, spiritual and contextual functions. Dowlat Abadi in "Missing Soluch", based on a proper understanding of socio-cultural, historical and political conditions, artistically and realistically depicts the struggle of a community for life. Pearl Buck, from the other side, in "Mother", presents an impressive picture of Chinese culture and traditions by focusing on incorrect socio-economical relations, and the impoverished and sorrowful life of the hard-working people in this country.The present article intends to perform a structural and contextual comparison between "Missing Soluch" and "Mother".

Epic and Tragedy in their various forms have been considered as the oldest literary figures in different cultures in the world of literature. However, the accounts given to them had not changed so much from the time of Aristotle. In this article, an attempt has been made to analyze epic and tragedy and describe their features in a new way. To do so, Kalidar's novel by Mahmoud Dowlat Abadi is selected as a tragic and epic work to be compared with older tragedies and epics. By comparing the features of old tragedies and epics with Kalidar, not only would their differences be appeared but also the old and new views would be compared. In this manner common features of epic and tragedy would be written, and used to compare every tragedy or epic regardless of their time and location. For completing this discussion, the views of some critics like Aristotle, George Lukacs, Henry Miller and Ande Bonnard are used.

Mahmud Dowlatabadi with his valuable works in the narrative literature of our country uses a set of social, political, economical factors inexplicitely and strongly that he himself has encountered with during his life.In the present research, we, first deal with the story, short story and their definitions using the authorities' opinions in detail; and also the reasons for their appearance in Iran, and then an abstract of the story. Later we'll survey parts of the story elements of "Man". Of course, whenever necessary, explanations about the story elements, together with examples from the text will be offered. This essay has been written based on the study of references, current writers' reliable books and the principles of today's science.