Princess Zib-on-nesa Makfi, the most famous poetess was borne by an Iranian mother in 1048 Hegira. Her father Mohye-d-din Owrangzib-e, Alamgir was one of the powerful kings of Indian Mongol Empire. Makfi was not only a poetess but she also knew the Holy Quran by heart. She knew Arabic, Persian, and Turkish thoroughly. She could write Nasta liq, Sekaste, and Nask writings beautifully. Though she was a princess yet she lived like sufis. She spent all her efforts for the guardianship of writers, poets, and artists. She established an academy and many books were written by her order. She never got married and this caused many false stories about her life and character. She died at the age of 65 and was buried in Delhi.

The reflection of lingual and experessional of hendi style in zib-ol–nesa s sonnets. ZIB–OL–NESA–beigom well named as "makhfi" is one of the moust poets in india like continent who saya her poems in farsi. Her father ourang–zib is of great goorkani kings; and her mother is iranian lady, "delras banoo" who is dougter of shahnavas-khan of safavi. she has tried in different kinds of poetly; but she is more succeed in sonnet (504 sonnets).There is some motifs and concepts in her divan (collection of poems), which are elike narow thonghts and imaginations of hendi style , and their frequences are not less.it has been seen more cases of applying tolk words and complexes, making strange and special complexes, special lexical motifs, special numerical links, local phrases and similes, exageration, paradox, verbal metaphors ,condensed simile and specially bringing allegory and oslube–moadele (parallel-allegories) which are applying. Of the main charactristics of hendi style. we–in this resarch–along side analysis of ZIB–OL–NESA (makhfi) s poems , will show the reflex of features hendi style in her divan (collection of poems); and analiz their frequenc ise, which in them, stylistic individualities has been shown.

BACKGROUND AND OBJECTIVES: Stylistic studies is considered today as one of the most accurate and practical methods of studying literary texts in different periods. In this article, the stylistic analysis of the poems of one of the poets of the eleventh century AH, named Ziba al-Nisa Begum, nicknamed "makhfi", has been introduced. METHODOLOGY: This research has been done by content analysis and library. FINDINGS: Ziba al-Nisa Begum, nicknamed Makhfi (1048-1114 AH) is one of the poets of the Safavid period in India. Some consider him to have an Indian style due to his life in the Safavid era and the existence of some features of Indian style in his poems, but the frequency of features of Indian style such as sensuality, equation style, etc. does not have a significant frequency in his poems. CONCLUSION: Ziba Al-Nisa is a lyric poet and his poetic themes are more romantic and mystical, but there are also moral and legal themes in his poems. Complaints also have a considerable frequency in his poems, one of the subjects of which is the complaint against India and the desire to travel to Iran, which Ziba al-Nisa introduces as his homeland. The weights of Raml and Hazj are more frequent than the other weights in his poems, which are in harmony with the themes of his poems. Also local words and word combinations related to the land of India can be seen in his poems. He has used allusions and similes more than other arrays.

The percept of prayer is accounted as one of the essential percepts of Islam. The Shiite and Sunnite jurisprudents have diversity of opinions on the prayer percept of passenger, and this takes root from their approach in interpreting Nesa Sura, verse no 101. The Sunnite jurisprudents interpret the phrase (فلیس علیکم جناح) as the necessity of shortening the prayer; however, they believe that the passenger has the option of shortening or performing his prayer entirely. They then interpret the next phrase (...ان خفتم) as the condition of shortening the prayer, stating that shortening the prayer depends upon the fear of enemies in travel. Therefore, a safe and sound journey invalidates the condition. The Shiite jurisprudents, on the contrary, believe that the phrase (فلیس علیکم جناح) signifies the necessity of shortening the prayer, and the phrase (....ان خفتم) proves the obligation and not the condition of shortening the prayer. They believe that the Prophet’s tradition as well as his companions’ approves this fact. The present article studies the authentic evidences along with some other verses of the holy Quran and a number of practical Prophet’s tradition to certify the precept of passenger’s prayer.

Nowadays, hazard mitigation strategies in avalanche prone areas, rely both on practical experience and avalanche models that predict snow avalanche path, run out distance and impact pressure. Increasing the reliability and accuracy of avalanche zoning methods is of primary importance in heavily populated areas. Avalanche hazard zones are defined by the frequency and impact pressure of a potential avalanche event. Potential avalanche is the biggest avalanche that an avalanche path can release and is related to snow supply and path geometry. Therefore it is necessary to accurately estimate the release frequency and release areas for a specific avalanche track. Avalanche frequency can be calculated by analyzing avalanche records. But in the case of lacking data it can be estimated by climatic data. In this research, Voellmy-Salm model is used for computing run out distances and velocities for extreme avalanches. Geomorphologic parameters like elevation, slope and aspect were derived from DEM, or aerial photos interpreting. Then potential avalanche release areas are defined and impact pressure and avalanche volume are calculated for a potential avalanche by dynamic models. Consequently, run out distances are defined with respect to avalanche speed that will be zero in run out zone. Finally avalanche hazard zones are defined by impact pressure and avalanche frequency. In this paper we analyzed Karaj road (between Nesa and Gachsar) and provide avalanche hazard map. It can be fined that this area is avalanche prone by analyzing topographic parameters. Steep slopes without dense forests are the most important factor in avalanche releasing. High mountains and climatic parameters can supply instable snow pack that can release. The results show that the road is in red and blue zones.

Since one of the necessary sources to reach the literary situation in previous centuries are the biographies written by ancients, this biography has been studied carefully. First, its errors and omissions has been corrected and then few of the writer"s Amir Sir Ali khan Doudy which was due to lack of reliable sources has been omitted. This biography like many other past biographies lacks introduction, table of contents and chaptering (sectioning). There fore after adding table of contens, introduction, chaptering and appendix, a section under the name of "suspensions" has been added to eliminate mistakes and to clear ambiguities. The biography of Marut-ol-khial whose main object is the biography of few poets (one hunderd fifteen poets and fifteen poetesses) whose objectional relation some of its papers with Farsi literature has added to. its usefulness and explantion of the dark points by showring the behavior of literary people, kings and rulers of India especially in the begining of the 12th century (Before Hejrat), to poem and poetical art shows the position of Farsi literature and literaryposition of Farsi speakers of that land. The important point is that by studying poems that have been composed in Indian style, the internal changes in above-mentioned style will be clearly understandable.

Style is the current and distinctive features figuring in an author's works. Any text could be examined stylistically, from linguistic, intellectual and literary point of view. The linguistic level may be divided further into phonetic, diction and grammar levels.This study compares the texts of Eghd-ol-olaand Semt-ol-ola from the phonetic, diction and literary viewpoint and concludes that, despite the long interval of more than a hundred years, Naser-o-din MonshiKermani has been greatly influenced − in writing Semt-ol-ola − by Afzal-o-din Kermani' sEghd-ol-ola.

Owrād al-Ahbāb va Fosūs ol-Ādāb is a literary work in Persian by Abul Al-Mafākher Yahyā Bākharzi, a modern preacher and mystic of the Kubrawi order in the 14th century. This book explores the manners, customs and spiritual practices of Sufism and is one of the most important references in the researches related to the customs of Khānqāh (the sufi convent) and the traditions of the Sufis. This work basically consists of two main parts; Owrād ol-Ahbāb and Fosūs ol-Ādāb. The first part of the book, Owrād ol-Ahbāb, has not been published yet. The second part, Fosūs ol-Ādāb, which is dedicated to the subject of Sufi ethics and the Khānqāh system, was published under the full title of the book (Owrād ol-Ahbāb va Fosūs ol-Ādāb) in the first Iranian Studies Congress in 1964 edited by Iraj Afshār. Emphasizing the unpublished part of the book (Owrād ol-Ahbāb), this article introduces the versions of this work and examines its features and importance in the Sufi intellectual system, in general, and the Bākharziye of Kubrawi order in particular. Also, the linguistic features of the work have been examined in terms of phonetic issues, conversion of consonants and vowels, vocabulary, construction and usage of verbs, and syntactic issues by citing multiple evidences.

The morphological analysis of about 200 mystical narratives from the valuable Persian books - Kashf-ol-Mahjoob and Tazkerat-ol-Ouliya - revealed that within the particular field of mystical narratives, generosity possesses a prominent position in the climax of the story; while it is also more faithful to the meaning compared to other genres. At the same time though these unique roles face more limitation, they enjoy more variety as well. The only factor for similarity is due to the position of their functions; like the position of codes in an allocated space considering the turning point of the tale. Therefore Propp's theory fits in the semiotic domain. Through this research three actions were realized; though the number of functions reached eleven. Some of these are similar to those functions in folktales, while some of the others are new as in the mystical tales.

When Sufism created as a known social institution, its proper language and semiotic system were also created, thus a special jargon with its own connotations, nonsense to those unfamiliar was revealed. Sufis having personal pure experience, have their own imaginations and personal interpretations in literature and their uniqueness and creativity can easily be recognized through their innovative images, while the imitator Sufis who merely gets acquainted with Sufism via reading the progenitors’ works and the common symbolic images in the Sufism literature, stuck in their minds, therefore the color and smell of individuality cannot be found in their produced poetry and speeches since they take advantage of public images and interpretations. In this paper, however, in addition to discovering the artistic manifestations in Riyadh Al-Aryfyn, we provide readers, as much as possible, the illusionistic images and the created aesthetic issues so as to introduce them, to some extent, their inner and outer side experiences and the world. After Sufism was created as a known social institution, its proper language and semiotic system were also created, thus a special jargon with its own connotations, nonsense to those unfamiliar was revealed. Sufis having personal pure experience, have their own imaginations and personal interpretations in literature and their uniqueness and creativity can easily be recognized through their innovative images, while the imitator Sufis who merely gets acquainted with Sufism via reading the progenitors’ works and the common symbolic images in the Sufism literature, stuck in their minds, therefore the color and smell of individuality cannot be found in their produced poetry and speeches since they take advantage of public images and interpretations. In this paper, however, in addition to discovering the artistic manifestations in Riyadh Al-Aryfyn, we provide readers, as much as possible, the illusionistic images and the created aesthetic issues so as to introduce them, to some extent, their inner and outer side experiences and the world.