سیداحمد پارسا

As a theoretical and methodological tool, Critical Discourse Analysis (CDA) provides insight into the authors' worldviews and how they utilize language to convey a deep, multifaceted understanding of their world. This research employs the CDA approach as advocated by Fairclough (2000) to analyze the novel Ahle Ghargh by MoniroRavanipour, out of various CDA methods. At the level of description, the high frequency of words, collocations, sentence fragments, swear words, color words, pronouns and passivization, binary oppositions, and sentential moods, have been interpretated in terms of the depletion of native traditions of their meaning and the collapse of social conventions based on native customs, which have the highest conceptual and empirical affinity with the discourse of "returning to oneself", in the intertextuality and historical context. At the level of explanation, the author has invested considerable effort to portray modernity as inappropriate by showing the ravages of modernity that have drained the native societies of meaning as well as the lack of power to oppose this dominance. Moreover, the author has taken a valid critical position by explaining hegemony in various aspects of the discourse. As a result, at the level of explanation, one can witness the hegemony of modernity at the expense of tradition.

The narration of a story can be viewed from different perspectives, and one of these aspects is the narrative typology proposed by the French theorist Jaap LintVelt. He formulated this theory based on the functional interaction between narrator and actor, delving into the analysis of the role and narrative act of the narrator, the characters, and the audience. This theory focuses on the concept of focus and examines the relationship of imaginary elements between the narrator, characters, and audience, including abstract elements, tangible aspects, actors, narrator, and audience. This framework makes analyzing different characters, audiences, and narrative modes easier. The present research uses a descriptive-analytical method based on Jaap LintVelt theory to examine the narrative typology and the narratoraudience relationship related to the narrative, story, and characters in the “Sahil alJawad al-Abyad” collection investigated by Zakaria Tamer. The results suggested that Tamer uses the homogeneous narrative in seven stories of the book's eleven stories, where the narrator performs the dual function of plot and exposition. Tamer strives to engage the audience and makes his character understandable by creating an appropriate atmosphere and articulating specific sentences and expressions. In these stories, he uses surrealistic elements such as imagination, contemplation of death, disobedience, and similar elements to provide a detailed depiction of the prevailing conditions during the act of narration, to engage the audience and make his characters relatable. In some stories, Tamer successfully addresses the current problems of young people such as poverty and unemployment using an asynchronous narrative technique. Furthermore, the results suggested that Tamer effectively integrated narrative-discursive strategies and techniques into the story content.

The process of actor representation in narrative involves various aspects of discourse-based formulations. The narrator refers to the actors as subjects to either accept or reject them, encompassing different stances, including acceptance and rejection with their sub-categories. Siavash Kasraei's stance as a subject-narrator towards a character as a subject-situator requires the selection of a specific approach and the rejection of other procedures. The mention or omission of actors in Arash Kamangir's poetry is directly related to the poet's thinking and his evaluation and interpretation of that character. The poet describes and depicts the situation of the character through his own interpretations.

This study is based on Van Leeuwen’s theory of legitimacy to show how proverbs can legitimize or derive legitimacy from a discourse. The research method is descriptive-analytical and is based on Leeuwen’s components such as authorization, moral evaluation, rationalization, and mythmaking. The statistical population is Twelve Thousand Persian Proverbs and Thirty Thousand Equivalents written by Ebrahim Shakurzadeh Bolouri. The sample size is three thousand Persian proverbs that have been selected from this book based on the systematic random sampling method. The results show that among the legitimation processes, the evaluation components have the highest range with a total of 380 proverbs. This seems to be due to the importance of evaluation as well as the human tendency to evaluate. The results also indicate that proverbs in discourse are used for various purposes such as persuading the audience and legitimizing or deriving legitimacy from a discourse.

The interaction and correspondence of a set of linguistic, literary, narrative, and discourse elements form a network of relationships with varying degrees of influence in connection with the text. The combination and integration of the views of theorists in linguistic, discourse, and narrative fields prevent the researcher from giving a one-sided account and pave the way for achieving more desirable results. In this study, using an integrative approach, we have attempted to present some of the most important linguistic, discourse, and narrative elements as effective factors in meaning formation, and to describe the position and the role of each of these elements in the text to understand the intra- and extra-textual aspects. To this end, the present research based its analysis on Halliday and Hasan's three-tiered theory of linguistics (context, agents, and mode of discourse). It also referred to Riffaterre's views for the description of the discourse context in poetics. Regarding the narratology, reference has been made to some statements of structuralist narratologists, and finally, for the description of discourse agents, Van Leeuwen's (2008) views on discourse and actors have been utilized. The results of the research show that firstly, the foundational theme and discourse context in Arash the Archer's poetry is the reproduction of the anticipation and hope for liberation through the emergence of a hero and savior. Secondly, the agents (actors) of discourse are divided into two main categories: the agent of action and the recipient of action. Arash, in the role of the sacrificed hero, is the agent of action in the narrative, and the people of the city, who are passive and waiting, are represented as the recipients of action. Thirdly, due to the specific discursive and ideological field to which Kasrai belonged, he omitted the ‘king’ character in the narrative.

In novels, fictional life is intertwined with social realities, power dynamics, and ideologies, which authors represent through language. Understanding the intellectual and ideological tendencies of these writers has led to a growing interest among researchers and literary critics, necessitating the use of text analysis methods. Critical discourse analysis, as an efficient method, has addressed this necessity. This study employs Fairclough's approach to examine the discursive functions in Abbas Maroufi's novel "The Year of Turmoil," which explores aspects of Iran's contemporary history.There is a wealth of literature on critical discourse analysis of novels using Norman Fairclough's approach. For example, Bahrami & Arian (2020) conducted a critical discourse analysis of "The Fish Sleep at Night" by Sudabah Ashrafi, highlighting the novel's critique of patriarchy and the suppression of women. Another study by Zaree et al. (2020) applied Fairclough's theory to analyze the Arabic novel "Al-Harb Fi Barr-I Misr" by Yusuf al-Qaid, emphasizing the author's use of contrasts and oppositions in meaning. These studies demonstrate the widespread recognition of critical discourse analysis as an interdisciplinary approach to analyzing texts from a social and political perspective.

Lullaby is a kind of motherly song which is used to put infants into sleep, but one type of formal literature in the constitutional period inspired by these lullabies targeted the awareness and awakening of common people. The current research explores Mirza Ali Akbar Saber (1279-1329), Abulghasem Lahuti (1264-1336), and Sayed Ashrafaldin Gilani’s (1352-1287) lullabies. The goal of this study is to introduce these types of lullabies, the reasons of their songs, the analysis of their structures and contents, and the differences of such types of lullabies with the conventional ones. The methodology of this research is descriptive-analytical. The data was gathered by library and document analysis. The results indicated that the lullabies were formed under social, political, and psychological circumstances of that period. The secret of success of this type of poem in communicating with its addressees in transacting political issues and making the people aware lies in its simple language, traditional literature, the naturalness of literary methods, and the avoidance of intricacy. Finally, the results illustrated two different discourses by the poets of these poems which are investigated in this study.

The subject of the present study is to analyze of the discursive logic of the author-narratorʼs continuous metatexts in the Shazdeh Hamam by Papoli Yazdi(1327- ) based on the metatextuality of the Genette(1930-2018). Shazdeh Hamam is the autobiography of Mohammad Hossein Papoli Yazdi, five volumes of which have been published so far and the first volume has been reprinted 34 times up to now, which shows the good popularity of this book. Part of this popularity in addition to the author-narratorʼs style prose, honesty, and frankness in revealing the facts, is related to its continuous metatexts; because the author, once in the role of narrator, recounts the events of his life and another time, in the role of a researcher, analyzes them. This issue turns the author-narrator an impartial narrator to an intervening narrator. The present study intends to analyze the discursive logic of continuous metatexts in the first volume of the book Shazdeh Hamam using descriptive–analytical method and the theory of Genette metatextuality. The reason to choose the first volume is the distance between the writing and the occurrence of events in which the existence of metatexts and their discursive logic are illustrated vividly. Also, the model of Theo Van Leeuwenʼs legitimation which offers four strategies for accreditation, moral evaluation, rationalization, and myth-making, has been used in this article. The result shows that achieving the desired situation forms the core of the author-narrator discourse; a discourse that is based on the critique of the current situation. This criticism which is the product of the author’s knowledge, practical experience, his expertise, education and teaching in prestigious European universities, has made him to use metatexts in explaining the cause, interpretation, enlightenment, solution presentation, and the cases like this.

"Nefrin-e Zamin" (The Cursing of the Land) is one of the important works of the social sciences in the1960s. The present study examines this book from the perspective of critical discourse analysis (CDA) based on the exclusion components in Van Leeuwen's model. The purpose of this study is to show how social and intellectual views are linked to discourse-based structures in fictional texts in order to highlight the importance of linguistic structures in creating social discourses and their relationship with power and domination. This survey has been studied using a descriptive-analytical method, based on socio-semantic categories in the representation of social actors and how to use different types of exclusion and its reasons in a total of 3600 expressive discourse phrases. The results show that in this story, the author has tried to suppress the role of social actors with the use of special linguistic structures, including short sentences with different types of exclusion, the preferences for passive structures over active structures, and using infinitive structures and the use of adjectives, and this has a direct connection with the social institutions and the author's community especially “institution of power and politics”. In the Nefrin-e Zamin, the impact of political issues on the social, economic, and public institutions of that period is obvious and the author with his language choices and his style has explained the manifestations of modernity, social transitions, and the imbalance of power in society.

The present research is an analysis of Papoli Yazdi’s utopian discourse in “Shazdeh Hamam” based on the discursive theory of Laclau and Mouffe. The sample of the study consists of the first three volumes of Papoli Yazdi’s five-volume book, Shazdeh Hamam, the first and second volumes of which have been reprinted 34 times and the third volume 14 times so far. The reason for choosing this topic is the metatextual discourses of this work, which makes it distinct from similar works. Additionally, the reason for choosing Laclau and Mouffe’s theory is its effectiveness for analyzing Papoli Yazdi’s discourse. The research method is descriptive-analytical. The data was analyzed based on content analysis and using Laclau and Mouffeʼs discourse theory. Based on this theory, the present study aims to answer the following question: How is the articulation of concepts and the process of identifying the authorʼs idealistic discourse and its relationship with the dominant discourse? The results indicate that according to this theory, the authorʼs modernist discourse is formed in contrast to the dominant traditionalist discourse, and places “modernity and progress” as an empty point in place of the nodal point. It also articulates the points of culture and women’s rights around the nodal point and gives each one a new identity and meaning. In the end, the author encourages human beings as agents to act for the realization of their ideal society.

The subject of the present study is to analyze the riddle in Sorani Kurdish. The objectives of the study are to provide the young generation with a better understanding of the popular culture, prevent the new generation from becoming more disconnected from their native culture, recognize the effects of oral literature, especially riddle and its role in today's scientific studies and understand Kurdish riddle and its structure and content. The data were collected by library method and analyzed by content analysis method. The statistical population of the study is 377 Kurdish enigmas which have been investigated by total inductive method. The source used is the book (Kurdish enigma) by Obaidullah Ayubian Markazi. The reason for choosing this work is that the author is an academic figure, has a scientific view in compiling the content, his point of view, and the dominant Kurdish popular culture. The results indicate that Kurdish enigma have certain features, some of which are common to Persian enigma, but some features are also specific to the Kurdish language, which leads to a better understanding of these enigma.

Researchers of Persian literature have studied the use of Quranic verses by poets in their poems only with a rhetorical approach and have been unaware of their goals in using these verses. The present study examines this issue in Anwari's poems and tries to analyze Qur'anic verses from the perspective of their functions by using Researchers of Persian literature have studied the use of Quranic verses by poets in their poems only with a rhetorical approach and have been unaware of their goals in using these verses. The present study examines this issue in Anwari's poems and tries to analyze Qur'anic verses from the perspective of their functions by usingJari and Matching. The research method is descriptive-analytical. The statistical population is 207 poems of Divan Anvari, Modarres Razavi correction and sample size according to Cochran's formula 132 poems that have been selected using simple random sampling method. The result shows that Anwari has adapted the Qur'anic concepts and themes to his desired subjects by using the Jerry rule and applying the verses; In such a way that the final theme of his poem is far from the dignity of the true revelation of verses. In other words, he has used Qur'anic concepts with functions such as persuading the audience, magnifying, reasoning, expressing his discourse, and the like, in a concise and adaptive manner in his poems, which are discussed in detail in the text of the article.

Within the framework of critical discourse analysis, Theo Van Leeu wen's social network representation model shows the hidden layers of meaning by examining the contrasting functions in linguistic choices. This paper focuses on a descriptive analytical study of the discourse structure in Suvshun based on nomination and social actors categorisation in Van Leeuwen's model. The purpose of this study is to show the importance of linguistic usage in discourse analysis of the text and the level of influence of discourse elements such as power, ideology and politics on the author in the representation of social actors. Comprehending a story depends as much on "socio-semantic" features as on the appearance of the language. In Suvshun, Daneshvar expresses the political, social and cultural issues of her time in symbolic language. She also portrays individual and social changes, especially in women, by making full use of symbolic names. The results of the study suggests that nomination and categorisation and their subsets, especially informalization, are used more frequently. Moreover, the implication of names and social classes is consistent with the author's viewpoint and perspective and influenced by power, ideology and politic. While the author uses symbolic Iranian and Islamic names to show the inseparable connection between Iranian and Islamic thoughts, she depicts the tension related to Iran cultural transition from tradition to modernity and the evolution of social and individual criteria. Furthermore, she uses discursive features to sketch a new social role for Iranian women so as to explain their role in the social transition.

The prison poems of Ahmad Shamlou are significantly different from the classical form of prison literature in terms of structure, function, content, and discourse. In the present research, we have tried to study Ahmad Shamlou’s prison poems with an integrated approach using discoursal and semiotic tools. In order to interpret the function of prison as a punitive tool, we have taken Foucault’s views and to explain the relationship between power and disciplinary space and prison punishment, the issue of authority and domination has been briefly discussed based on the ideas of some sociologists and philosophers such as Max Weber and Thomas Hobbes. Lefebvre’s views on space have been used in the interpretation of prison environment. The results indicate that unlike the classical prison poets, Shamlou first discredits the punitive and disciplinary function of the prison by not admitting the charge and considering the punishment illegitimate. Second, the prison environment in Shamlou’s prison poems is a discoursal space in which the poet has tried to use the dialectical capacity of the space by successively escaping to the outside world, emptying the prison of its physical and defined identity as an enclosed space, and portraying it as a required developmental experience in the path to achieve the goal.

Rhetorical scholars have, from the beginning to the present, turned their full attention to formal literature. A review of the rhetorical books confirms this as well. This is especially true in the teaching of rhetorical topics in educational institutions such as universities, unaware that folk literature has its own structure and aesthetics, the neglect of which ignores a large part of the rhetorical capacity of the language. The present study borrows a descriptive-analytical method and uses the rhetorical criteria on the aesthetics enigma as one type of irony in folklore.
The results show that in the studies, only the rhetoric of the first part (description) has been considered and the other part has been neglected, while concealing and suspending the meaning according to the existing descriptions indicates that enigma is in fact an allusion to the subject. A point that has not been properly addressed so far has caused rhetorical books to be mistaken for a novel topic. The article discusses the difference between this kind of irony and the usual allusions of rhetorical, the explanatory books and the description of its beauties, in comparison with the examples of formal literature.

Sharafnameh is a historical, literary Persian prose text, and one of its prominent features is combining history with poetry. Bidlisi has used 554.5 lines of poetry in Sharafnameh while mentioning the poets of only 148 (26.69 %) lines. Thus, the poets of 406.5 (73.3%) lines of the Persian poems of Sharafnameh are unknown. This study aimed to identify the sources of these seventy-three percent and present the necessary documentation. The applied research method was descriptive-analytical. The data was collected using library and documentary research, analyzed using the content analysis method, and compared analytically with Bayhaqi's History and Nafsat al-Masdoor. One of the present study results is identifying and introducing the sources of 187 (33.72%) other lines of the Persian poems in Sharafnameh. Therefore, the number of lines of poetry with recognized sources reaches 335 (60.41%). Accordingly, the present study could introduce the unknown sources of 33.72% lines of poetry in Sharafnameh. The results also indicated that Sharaf Khan relied on divans and works of at least 44 poets to find these 355 lines. Therefore, the present study also pointed out the broadness of his readings and the richness of his resources.

Sanai Ghaznavi, in addition to his stellar position in mystical literature, is one of the great scholars and thinkers in the field of ethics as well as Islamic thought, especially in mystical poetry of poets with style and current in this field. Is. On the other hand, the most important figure who founded the theoretical foundations of the fusion of religion and mysticism is Abu Hamed Mohammad Ghazali, and considering the important and influential position of Ghazali in his time and later periods, and especially the contemporaneity of Sanai and Ghazali, Ghazali"s intellectual influence Sanai is an issue that needs to be researched in this area. Relying on the intellectual commonalities between Ghazali and Sanai, as well as the existence of similar intellectual sources, this article examines the reflection of Ghazali"s ideas in Sanai"s Hadiqah al-Haqiqa.

The research method is descriptive-analytical and the data are collected by library method.

The idea of ​​asceticism and mysticism is one of the most important thematic axes in Hadith al-Haqiqah. In the period when Sanai was introduced, intellectual, theological and religious differences were at their peak. Like al-Ghazali, Sanai displays religious themes with a mystical cover. The intellectual sources and reflections of Ghazali and Sanai have been "Quran, Sunnah of the Prophet, religious books".

The results of the study indicate the significant effects of Ghazali on Sanai"s thought, as in theological and mystical fields Ghazali"s intellectual sources can be seen in Sanai"s poetry and thought, so that Ghazali has a surprising effect on Sanai"s intellectual development. had. Also, in arranging the chapters of the book of Hadith, Sanai has not paid attention to the method of mystics and commentators of Sufism in the matter of the word of God and the importance of its recitation, and in this regard he speaks completely in the manner of Ghazali.

The poetry in sixties has some certain features because of the socio-political environment, and especially the war. On one hand, poetry was a reflection of the atrocities of the Ba'athist enemy and on the other hand, it’s the reflection of self-sacrifice and resistance of the people of this country in an unequal battle. The researchers’ too much emphasis on the resistance poetry during this period has led to the marginalization of literary creativity and innovation in these poems. Considering this issue, the present study, investigates a less known type of simile in the poems of Seyyed Hasan Hosseini and Qeysar Aminpour and analyzes it as a stylistic feature. The paradoxical simile, is created through the combination of two concepts of simile and paradox, from two fields of rhetoric and prosody and in terms of structure and usage, there are three categories: The first category, in which tenor and vehicle are two fundamentally contradictory phenomena. The second category is paradoxical in the similarity. In the third category, the vehicle is a paradoxical item by itself and this paradox affects the totality of the simile. Innovation in the imagination by means of reconstruction in the simile format, surprising the audience and forcing him/her to discover the hidden beauty in the simile‚ and challenging the traditional rhetorical boundaries are considered as the characteristics of this sort of simile. The method in this study is descriptive-analytical and the data have been analyzed by using the content analysis method. The results show that the tendency of the poets to the Indian style‚ the conflicts in the society‚ the mental engagement of the poets and other things as so‚ are the main reasons for the creation of these similes.

The interconnectedness of multiple sciences in humanities has led to effective integrated approaches in the field of intertextuality. The issue of identity is one of the important topics that is fundamentally related to sociology, cultural semiotics, discourse analysis, anthropology and even literary criticism. The present study has made an attempt to use the common elements of semiotics, discourse and anthropology in connection with the element of identity with an intertextual approach in order to represent the identity in Khanlari’s poem, the Eagle. Julia Kristeva’s theory of abjection and the concepts of “self” and “other” in the field of cultural semiotics have been selected as the main interpretive tools to represent the process of eagle’s identity formation in interaction with foreign culture and abjection drives. The results showed that, at the beginning of the narrative, death, as the abjection drive, forces the subject to find a solution, but after interacting with the subculture (culture of magpie) and observing the abjection drives, including the living environment and magpie feed, returns to its social identity and, while considering death as desirable, rejects abjection drives and leaves the foreign land.

The present study aims to answer the main question of what specific cultural, discursive and social elements have played a role in determining the eagle’s identity by using the above tools in an intertextual approach. The present study is an intertextual study with a discursive approach that has used cultural semiotics, discourse analysis, anthropology, and a little narratology. It seeks to take an intertextual approach to the process of representing the identity of the seeker hero in the Eagle, translated and rewritten by Parviz Natel-Khanlari. This poem is originally in Russian and there are many translations with different alterations and extensions.McAfee (2006) has elaborated on Kristeva’s views, including the concept of abjection, in a book entitled Julia Kristeva.Khosravian (2009) has given an overview of the aesthetic and pictorial aspects of Khanlari’s the Eagle.Following the theories of Bermon and Greimas, Aghakhani et al. (2011) have studied the two narrative poems of the Eagle and the Serivili House.Pour-Ali et al. (2014) have interpreted the novel “The Rule of the Game” using Kristeva concept of abjection.Salimi Kouchi and Sokout Jahromi (2015) have studied the characters in Anārbānu and Her Sons from the perspective of Kristeva’s abject body and have discussed the concept of abject body in the Introduction.Alami and Babashahi (2017) have interpreted Siavash’s story based on Kristeva’s theory of abjection.

Death is represented in the beginning of the poem as the abjection drive, and the eagle tries to find a way to avert it. Since conversation is the beginning of culture, formation of any of the cultures, supercultures and non-cultures requires the existence of dialogue and conversation. In the Eagle, the dialogue between the magpie and the eagle is the beginning of the formation of cultures and the demarcation between superculture, non-culture and culture. The cultural atmosphere of the magpie appears in the beginning as a superculture with which the eagle enters into conversation in order to have a long life. In order to draw the attention of the eagle and impose cultural elements related to its culture, the magpie claims that the winds that blow in the heights are the cause of death and short life of the eagle. Later in the conversation between the magpie and the eagle, by highlighting its culture, the magpie criticizes the culture of the eagle and tries to take the eagle with him and invite him to a life full of filth. The description of abject drives through the magpie’s habitat and food symbolically represents the cultural and social system of the “other”, which is in conflict with its own culture. The eagle enters the land of the magpie to find out the secret of the magpie’s long life. The eagle is reminded of its abjection struggle by being in a foreign land, which is the residence of the magpie and the place of filth and humiliation. Conflict with the abject element occurs in two stages through recall and return to the eagle’s social identity. In terms of social identity, the eagle and magpie have a group conflict. After interacting with the magpie, the eagle recognizes this group conflict again. In this cognitive process, the eagle’s perceptions and evaluations of its social group and its opposing social group lead to the representation of its social identity. This is where the eagle realizes that being an eagle requires accepting a set of signs and necessities belonging to the social identity of the eagle group, and what he thought about longevity was only a crude dream that is incompatible with his social identity and that he must give it up. In addition, a set of signs and values ​​of the magpie social group are in conflict with the social identity of the eagle and must be rejected. After communicating and evaluating the eagle from within the magpie culture, the cognitive process of the eagle, as a cognitive subject, is formed and interaction with abject drives within another culture leads to cultural transformation.

The eagle, as a cognitive agent, interacts with its opposing social group in order to find its identity. In the process of finding the eagle’s identity, the element of death first appears as an abject and inconsistent drive, but after the subject interacts with the alien world and the culture of the “other”, it rejects the abject drives and, during a cultural metamorphosis, the superculture becomes non-culture and the narration ends by considering death as a desirable, normal and harmonious thing. In this way, the identity of the eagle, which is living with dignity at the peaks with a short life and rejecting another culture (magpie), is revealed. Although death is considered one of the abject drives in the first part of the Eagle, in the end, the drive of death protects the eagle’s definite identity and prevents the eagle from mixing with the filth and degrading life of the magpie.

“Tarikh –e- Baihaqi” is one of the Persian proses taught in two undergraduate and postgraduate courses in Persian language and literature. Having a good correction makes it easier to teach. So far, six corrections have been made in “Tarikh –e- Baihaqi”. Two recent corrections have been favored by researchers. The present study compares the recording of the Persian poems of “Tarikh –e- Baihaqi” in two versions of the Tarikh –e- Baihaqi of Yahaghi-Sayyedi and Fayyaz and tries to assess the accuracy of the recordings and the accuracy of the copy editors by examining the harmony of these poems with the content. For this purpose, in addition to using the prosodic rules of the Persian language, attempted have been made to use transcripts, attention to the imagination, textual consistency, authentic corrections of the poets’ divans, transcripts. The research method is descriptive-analytical. Data were analyzed by the library and document analysis using the content analysis method. The result shows that understanding the true meaning of the verses, linking them to the historical statements of the text and understanding them correctly depends on the correct meter of the verses, which unfortunately has not been adequately addressed in the correction of some of the verses. Metrical studies indicate that the correction of Yahaghi-Sayyedi despite more manuscripts is less accurate at his disposal.

One of the lyrical literary manifestations in Mojir al-Din Bilqani's poems is his satires. These satires, along with Khaghani's satires, have been forgotten and not studied. For this reason, the present study tries to eliminate immoral satires, introduce satire and mention the reasons for its existence in Mujir al-Din's poems, and identify his rhetorical technique.

The method of this research is descriptive-analytical and the data have been collected using library resources. The study area and society is a collection of poems by the divan of Mojir al-Din Bilqani, which has been published by the Institute of History and Culture of Iran with the correction and suspension of Mohammad Abadi.

The results of the research show that the language of Mujir's satires is chaste and often away from insults with taboo words. Her satires are mostly related to opponents and rivals and in this case, simile is the most important imaginative image and poetic element of Mujir. The mind of the illustrator Mujir al-Din is not content to bring one image and his similes are mixed with other images. Also, he has tried to show his superiority with allegorical expressions based on similes. This has reduced the ugliness of his satires and increased their rhetorical aspect.

In his satirical similes, the poet has established a poetic connection between unrelated elements and has forced the audience's mind to try. Therefore, his satires have an artistic aspect. In terms of meaning, his satires reflect the social situation and morality that govern society. Therefore, the satires of Mujir al-Din Bilqani, in addition to their artistic aspect, are significant in terms of meaning.

Sustainability literature is a reflection of the reactions of oppressed nations and their dissatisfaction with the current situation; Therefore, the literature of stability, in spite of linguistic, temporal, cultural, religious, geographical and similar differences, pursues a single mission, and that has been the awakening of the masses of the people and their incitement against the occupiers of their land or its oppressive rulers. The subject of the present study is the analysis of stylistic components in the poems of Mirzadeh Eshghi and Mohammad Taghi Bahar.

The research method is descriptive-analytical; The data were collected in the form of libraries and analyzed by content analysis.

The poetic motifs of the constitutional era are almost common in the poetry of the poets of that era, but the approach of each of them is different from the other and indicates his own worldview. This is also true of the sustainability motif.

Mirzadeh Eshghi's extensive use of the manifestations of folklore in expressing the concepts and issues of sustainability has caused folklore to play a prominent role as a stylistic feature in such poems. The reflection of folk beliefs and the use of idioms, allusions, similes and proverbs are the most important manifestations of folklore in the poems of Mirzadeh Eshghi. In contrast, Bahar has not used much of the effects of folklore in his poems on sustainability and has expressed the concepts of sustainability more in harsh and literary language. Intellectually, love is more radical than spring. In the beginning, Bahar's discourse, regardless of his linguistic maturity, is like a love with a cracking language, and it represents an unyielding discourse and all the protests in Ahmad Shah's period until the beginning of Reza Shah's period. But very soon after his imprisonment, this discourse changed and criticism gave way to praise of Reza Shah. In other words, stability in spring poetry gives way to submission and silence.

Structural analysis is one of the methods for analyzing literary texts. A branch of interest to structuralists is narratology. Greimas, the Lithuanian semiotician, explains the structure of the narrative and the characters of the story using the dual contrasts and the actantial model. The aim of the current study is to investigate the structures of a story from Marzbān-nāma entitled “Irajasteh and Khosrow” and another story from Haft Peykar entitled “Fitnah and Bahram” using a structuralist approach. The characters and actors in the stories and the similarities and differences of the two stories and the type of actions are evaluated. The result shows that while the two stories have a common deep structure, they are not homogeneous in terms of their surface structure. The subject actor in the story of “Irajasteh and Khosrow” plays an important role in the plot of the story, while in the story of “Fitnah and Bahram” as an active actor, encourages the subject or the hero to act.

when we speak about protest, Immediately the mind becomes attention of the poets such as Akhavan-Sales, Shamlou, Kasrai, Mosadegh, Shafiei Kadkani, and poets like them. perhaps the idea of protest by Sohrab Sepehri (1928-1980 AD) to the sociopolitical system of the community of his own age, for many It is difficult to accept, because he has chosen a different way from others in this context called deviation. Because of a different approach he had to this category, he has faced difficulty getting many of his objections. The present study seeks out two of his poems, "Ab" and "Poshte daryaha", and he tried recognizing his personality and globalization by presenting Sohrab Sepehri's protesting methods, which has been neglected so far. The research method is descriptive-analytic and the results are analyzed using a content analysis method. The results show that Sepehri tries to show his protest against the status quo by drawing his utopia and by opposing the status quo to the ideal one (utopia).

Mahasti Ganjavi (577-490 AH), renown for her quatrains, was a pioneering poet; her worldview and life condition led her to compose poems that were unprecedented in the poetry of classic female poets in Persian literature. In the past, Mahasti was not welcomed owing to some unsound judgments about her character; in modern time, too, some published studies have done her an injustice. The present study aims at uncovering the feminine features of Mahasti in her quatrains. The research is descriptive and the data are collected by document and library research process, followed by content analysis. The results of the research show that Mahasti's poems express her feminine feeling and experience freely. Her feminine traits include expressing love and affection for the opposite sex, referring to her gender, feminine images and features, silent feminist protest, conservatism, and feminine erotic language, explained in detail in the article.