The mystical texts while including some secrets, mystery, conceptual and meaning complications and also using the symbolic, impressive, magic and tuneful language, differ from the others literary and non-literary texts considerably. These differences are only considered by some of the intellectuals as the differences in language structure and know the meaning related complexity originated in the especial features of that language. Opposed to the mentioned viewpoints, this essay brings the priority of the concept and meaning over the language in mystical texts into sharp focus and reveals that revelation, understanding, interpretation and explanation of the meaning have priority over the terms and appropriateness of the language. Although the new findings based on revelation of meaning and concept creates a new language, it will be different from the other languages. In this regard, the understanding and interpretation by the general interpreters upon a the Holy Quran verses as well as the Khorasan mystics and Ibne Arabi"s ones in Fososelhekam, have been studied. The result of this essay and study have shown that meaning has priority over the terms and thought, in mystical texts. It also shows that the complementary development of the mystics" understanding of the Holy Quran till the period of Ibne Arabi and their effects and interplay on each other.

Let A be an abelian group. A graph G = (V, E) is said to be A-barycentric-magic if there exists a labeling l: E (G) ®A\{0} such that the induced vertex set labeling l+ : V (G) ®A defined by l+ (v) =  å uvÎE(G) l (uv) is a constant map and also satisfies that l+ (v) = deg (v) l (uvv) for all v Î V, and for some vertex uv adjacent to v. In this paper we determine all h Î N for which a given graph G is Zh-barycentricmagic and characterize Zh-barycentric-magic labeling for some graphs containing vertices of degree 2 and 3.

The importance of rhythm in the latest texts of Antonin Artaud written in an invented and incantatory language invites us to extend the scope of our understanding of this phenomenon. And it is particularly surprising that contrary to what one might imagine, the simple word of rhythm is far from representing a universal definition easy to access. This has led many authors to give the name a more accurate and satisfactory definition, but it is only by following the path that Artaud spawn had influenced in our mind that we could reach a magical definition of this term. It is for sure that the magic of rhythm connects the beliefs of a primitive culture to the most recent contributions of the humanities in this research. French: La magie du rythme L’importance du rythme dans les derniers textes d’Antonin Artaud, écrits en une langue inventée et incantatoire, nous invite à nous pencher sur ce phénomène. Il est particulièrement intéressant de constater que contrairement à ce que l’on pourrait croire, la notion de rythme est loin d’être universelle. Cela a incité de nombreux auteurs à vouloir définir exactement ce terme, mais seul Artaud a frayé la voie vers une définition magique de ce terme. C’est la magie du rythme qui relie dans cette recherche les croyances d’une culture primitive aux apports les plus récents des sciences humaines.

The article deals with a study of the phenomenon of magic in certain ancient human rites. This is followed up by some manifestations of magic, together with some instances of it as used in Persian literary texts. Important is that a study of magic and its manifestations and the literary devices employed when talking about it are necessary to solve some problems inherent in some texts of Persian prose and poetry.

IntroductionThe practice of medicine today is divided into 2 major groups; what is regarded on the one hand as ‘ scientific’ or ‘ evidence-based’ medicine and on the other hand a disparate group known as ‘ alternative medical practices. ’ Modern or ‘ scientific’ medicine, the origins of which date from early 19th century C. E., has many shortcomings and is not perfect, but seems to be the most effective form of medical practice we have today. I will discuss this in a future article.

Magic Realism is a modern fiction style. Although it invokes a South American's name and Gabriel Garsia Markez, specially, it is typical of the third world nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions into two groups: The first one, fictions that have been written in Magic Realism style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both groups of fictions and the rational why Saedi followed this style will be discussed.