فهرست مطالب محمد خسروی شکیب

Proverbs are important cultural components which show the way and style of common thought in a society. They are often mediators and devices for language pressure and influence. The question is where the effectiveness and functional pressure of proverbs come from and how the internal and external mechanisms governing their structure work. Using the qualitative, analytical and functionalist method, it can be said that proverbs become common and influential when they direct the audience to a familiar story in the infrastructure through obvious dualities and contrasts in the superstructure. The easier the audience's mind is transferred from superficial signs to cultural and infrastructural significance of the stories, the more immediate and greater their influence will be on the audience. The story in the deep structure of proverbs can influence the listener like a pressure device by shaping the mental schema and help in cognitive development, recalling and quick understanding of the message. Narratives and cultural stories in the deep structure of proverbs act in the direction of persuasion. They shape acceptance by emphasizing on social constructionism and create an immediate impact on the audience by highlighting the originality of depiction and imposing pressure and theatrical obligation.

In the book One Thousand and One Nights, the will and the exercise of power do not flow downwards like a linear and axial pattern, but are implemented in the discourse container of the story. Regardless of the foundations of Foucault's thought about power, the king in this book is a symbol of authority; But with more precision, we find out that it is Shahrzad who dominates him with the use of soft power (telling stories). In fact, the author of the book One Thousand and One Nights, Willingly or Unwillingly - shows how a collection of anecdotes and stories, expressive and linguistic concepts and qualities as well as strategies, a powerful discourse; But at the same time, they create soft.

The research method in this article is a library, analysis and qualitative study, which, with highlighting on the discourse of Foucault's power, will be a qualitative critique and analysis of the stories in the book "One Thousand and One Nights". The premise is that the "One Thousand and One Nights" anecdotes, by emphasizing their function and social role in their context, represent the dominant discourse of "soft power." "Anecdote", as well as other members of the literary system so dominates the world of "discourse of power" with the transfer. In this article the critical analysis of the book A Thousand Nights with the approach of "discourse of power" Foucault will be explains.

The areas of power in One Thousand and One Nights are: soft power, power of narration and audience attraction, physical power and gender, activism and reactivity of language in One Thousand and One Nights, which are examined separately.soft powerBasic and raw attitudes towards power divide it into two types, soft and hard. According to this general division, it can be said that the peak of power is the place where soft power beats hard power, and this issue depends on the level of subtlety and techniques used in the components of soft power. Foucault states in the book Will to Know. In One Thousand and One Nights, the type of power is generally of the same type. The process of "soft power" is persuasion, response, and reasoning, while in hard power, it is duty, coercion, and coercion. The power of narration and audience attractionThe author of the book One Thousand and One Nights, using special and modern narrative techniques such as: suspense, description, response and the like, admits to the special reader that he thought about the discourse of power and its application, as if he thought like Foucault; Because during the story, it shows that the power is not a simple concept communicated and ordered from the top (the king) to the bottom (the subject), but sometimes the foundations of this traditional assumption are broken and the case is completely reversed. Just as in Foucault's theory, each person plays a role in the process of power by relying on his unique ability and knowledge, so are all the characters of One Thousand and One Nights.Physical strength and sexualityFoucault believes: there has always been resistance to the imposition of power on sexual desire. In other words, power and resistance in connection with gender have always been together. In the book One Thousand and One Nights, the body and its manifestations in general are considered as a medium for exercising and expressing power. In most of the stories in the book, the body and its manifestations are the medium through which power is exercised and people establish their control and dominance and then impose their thought system on the target person.Activism and reactivity of language in One Thousand and One NightsThe language of one thousand and one nights is no exception to this rule. The first prominent feature of the language of this work is its democratic character; Although this democracy eventually ends in dictatorship, which is the king and his absolute power; But the dictator himself provides the prerequisites for the emergence of this democracy.

In the works of Michel Foucault, the issue of power is one of the key discourses that is current everywhere and has a great role and importance in the organizations and relationships between institutions and social structures. The discourse of power considered by Foucault also exists in the institution of art, and since literature is one of the many types of art, it can be considered as a center for the formation of verbal and lexical power, and participates in power relations. Soft power in One Thousand and One Nights, an intangible and hidden thing; But it is discursive, comprehensive and structural. It means that the structure and context of the book is based on its foundations. This discourse of power is not an illusion or an illusion, and in this research some parts of it were shown. Getting involved and following that, receiving the text of the book depends on understanding and thinking about how power works in it; Of course, for special readers and critics. This book shows that literature in general and anecdotes and storytelling in particular can be used as a center of soft power to play a cultural and constructive role in society while pushing back and mastering hard power and violence. Until the end of the book One Thousand and One Nights, the "soft power" discourse resists the king's hard power and with its special techniques, the most prominent of which are narration and suspense, becomes a dominant and victorious discourse. Also, the structure of power revolves around the story, which is in the hands of various characters. This structure is always dynamic and fluid and contains layers of soft power under the influence of the ability of narrators and especially the main narrator, Shahrzad. The description of women's beauty, attractiveness and fitness along with gender at the beginning of the stories is considered to be one of the areas that play a major role in the power relations in the book One Thousand and One Nights. A power that softens hard power and softens violence. Expressive and literary tools and artistic techniques, as well as narrative verbal intelligence and emphasis on the relationships between the parts of speech in order to use descriptive, exclamation, and emotional emphases and pauses, have all caused a network of soft power to form, which in Finally, it calms the king and prevents him from using violence and applying hard power.

Mantagh al Tair is one of the prominent mystical works in Persian literature, which in a narrative structure, deals with the story of the quantitative and qualitative calling of "birds of the world" and their collective efforts to search and reach "Simorgh". He used 194 "Anecdote" in the structure of Mantagh al Tair. The question is, what is the role and function of these stories and why does "Attar" insist on using this type of narration? The presupposition is that the story is one of the tools and arrangements needed to shape a collective mobilization, and Attar consciously tries to base the structure of Mantagh al Tair on the "story". The premise is that the "anecdote" facilitates the transformation of the story of "I" into "us" and causes the birds to accompany "Hoopoo". The "anecdote" creates a crisis and extreme urgency. The "anecdote" intensifies the theatrical requirement of the call. The "anecdote" highlights the good and the collective interest of the birds. The "anecdote" builds a common socialization and worldview of birds. "Anecdote" increases the action and persuasion function of language and its persuasive power. The "anecdote" facilitate the fascination and conquest of the birds' minds.

Quran is a religious and educational book that has a special linguistic and structural geometry. "Tales" are one of the most important main mechanisms of the structure of the Qur'an. The Almighty God has used "Tales" to call mankind for the good and benefit of the community. The question is, what is the function of the Tales in the structure of the Quran? The presupposition is that Quranic Tales with their narrative properties can reinforce the receptivity of religious, moral, and social teachings, and by turning "individual story" into "plural story", they can facilitate the acceptance of the "cooperation" discourse. These tales exaggerate the persuasiveness of the words and finally make the message necessary and urgent. They facilitate the creation and description of the Qur'anic meaning and message. Qur'anic tales create collectivity and a common and universal worldview, and by creating different narrators and multiple viewpoints, they adjust the grammatical and impressive nature of language. They emphasize good and public benefit. Most importantly, Quranic tales can shape the process of cognitive development and identity-building of the audience. In this paper, with the method of content description and analysis, an attempt is made to qualitatively and functionally evaluate the role of tales in the structure of the Holy Quran.

Tarikh Beyhaqi contains accurate information about the Ghaznavid period. ‘Khishkhaneh Herat’ is one of the anecdotes in this book, which deals with how Sultan Mahmud relates to his son Masood. The application of the theory of symbolic interaction to the verbal and non-verbal connections between the characters provides a more accurate understanding of the situation of the Ghaznavid court and their daily lives. The premise is that variables such as false representation, idealization, mystery, team collusion, hypocrisy, multi-kinship, maintaining dramatic control, and action and reaction in this anecdote make the application of the theory of symbolic interaction convincing. The analysis of these partial variables in Khishkhaneh Herat indicates an all-encompassing and macro-sociological reality and shows the unstable cultural atmosphere as well as secrecy, inspection, pretense, incoherence, and extreme distrust in the period.

Proverbs are one of the influential cultural tools in promoting organized ideologies, setting worldviews and guiding social behavior. They strengthen collective coordination and cooperation among social activists and cause intellectual and cultural convergence around a common issue. In this article, an attempt is made to address the problem of how proverbs, as a tool of popular culture, shape collective behavior with the method of qualitative analysis and description. The premise is that proverbs arrange individual behaviors with collective behaviors via "rationalization", "institutionalization" and "structuralism". The foundations and function of proverbs show their capacity and ability to monitor and control social behaviors; expecting roles such as "correlation and development of cooperation", "achieving common benefit", "defining behavioral patterns", "framing", "collective conscience" and "social cohesion" from proverbs make it is possible to regulate the scattered behavior of actors.

In the history of Persian literature, each of the poets, based on their own thoughts and attitudes, has composed a lament and reflected their emotions in a lament. The element of emotion is presents in the mourning; The element of "emotion" in literature is equal to the "emotional self" And since mourning expresses human feelings and emotions, creates a good space to represent the "emotional self". By examining self emotions in the poet’s laments, in addition to revealing their mental and psychological states, we can understand the reasons for the poets' tendency to lament as well as their social atmosphere.

In the present article, by qalitative analyzing the texts and based on library sources, after explaining and defining the "emotional self" and its types from a psychological and literary point of view, the most important elegies in the poems of persian poets from the age of Rudaki to the age of Hafez, have been examined.

The results show that the highest frequency of limited and individual emotional self is in court elegies; The social self has the highest frequency in social and religious elegies, and the transcendent self in philosophical elegies; In familia and personal laments, the individual and transcendent_self have the most reflection.

The emotional action and empathy of language has always been important for great poets, because in this type of lingual action, the direction and tendency of the message is towards "self". Since the type of lament is the result of the contrast between the poet’s mind with the external hostile and bitter reality, therefore, the manifestation of the social and transcendent self is more. The evolution of the "emotional self" in the poems of these poets indicates their mastery of self and more attention to the spiritual world and the pass the physical world.

The story of "Sheikh Sanan" is one of the beautiful narrations in Persian literature. The application of new theories causes the mentioned anecdote to show sociological and psychological suggestions beyond its mystical text and context. Using approaches related to social psychology, in addition to taking the text out of the traditional limitations, an expounding and interpretativecapability is provided to estimate the story of "Sheikh Sanan" according to Irving Goffman's " stigma" theory. In the present article, an endeavor is made to scrutinize the "story of Sheikh Sanan" by means of qualitative description and analysis. The premise is that there are variables such as "play pattern", "pattern of individual and collective kinship", "social exclusion and isolation", "loss of common identity", "learning", "knowledge and insiders", "Revelation", "habitual", "recovery of lost identity", "defense and psychological mechanisms", etc. in the mentioned narrative, has caused criticism and analysis as well as the results of applying Goffman's "stigma" theory, be believable and convincing.The presupposition is that the lack of balance between the individual "self" and the social "self" has caused the "stigma" of Sheikh Sanan.

Charles Tilly's theory of "collective action" understands revolutions and social movements as forms of collective mobilization that seek to modification or prevent a change. By proposing this theory, Charles Tilly seeks to recognize, and understand the internal mechanisms that administrate collective movements. The story of the "pigeon" from Kelileh va Demneh can be considered as a conspicuous model of a collective, general and purposeful "collective action" that is organized in a special situation by a group of pigeons led by the Motavaghe. The question is whether the descriptive pigeon story can be accepted as a successful example of a collective action by descriptive-analytical and qualitative methods? The premise of the article is that beyond the text of the anecdote, met- textual and systematic ideas and patterns such as the principle of collective identity and unity, the principle of survival value, the principle of organization, the principle of benefits and costs, the principle of resource mobilization and collective action, the principle of leadership As a wise actor, there is the principle of persuasive and reasoned dialogue, the principle of opportunism and threat, which has enabled the anecdote to convincingly refute the application of Charles Tilly's theory of "collective action."

Proverbs are one of the leading cultural elements in societies that can support intellectual and cultural currents. The practical charm, as well as the accumulation of meaning and the broad and comprehensive meanings in proverbs, make their influence. However, the inspiration uniqueness and the audience's intellectual struggle toward them is not investigated yet. "You don't want to be shamed, be the same color as the group" is a proverb that can be criticized and interpreted in sociological, economic, historical, etc. perspectives. Contrastive structure, musical language, as well as the overt and hidden actions such as condition, command, warning, and threat in deep structure have made this proverb effective and popular. According to the deconstruction approach and the focus of this theory on reversing reciprocal pairs, a different reading of this proverb can be achieved, a reading that highlights and glorifies "individualism", creativity and the resulting talent in opposition to "collectivism" by shifting the authority and centrality of the structural dual poles. In this article, an attempt is made to provide a different and more modern reading of this proverb by applying deconstruction theory as well as qualitative and pathological analysis. The need to change the structure and context of this proverb shows the mobility and cultural dynamics of our society today.

The school of expressionism is one of the manifestations of modern art in the early twentieth century, which first began in painting. Influenced by this school in various branches of art and literature, outstanding works were created. "Scream" by the Norwegian Edward Munch is one of the expressionist paintings that has always been the model of many artists. Western poets, influenced by the school of Expressionism, made fundamental changes in the rules of poetry. Due to its many capabilities, poetry became a suitable space for reflecting expressionist themes. In the contemporary period, Iranian artists and writers, considering the conditions of the time and familiarity with Western culture and civilization, created works that are very similar to Western literary and artistic works. One of these works is the poem "O' People" composed by Nima Yoshij, which is very similar to the painting "Scream" in terms of its expressionist principles. The existence of common and expressionist elements in the poem "O' People" and the painting "Scream" led the authors of the article to analyze and study these two works comparatively.

The research method of the article is qualitative and analytical-comparative. The authors have not seen any article or book entitled "A Comparative Analysis of the Poetry of the "O' People" and the painting "Scream" with an Emphasis on the Expressionist Components ", but many books and articles on these works independently and separately., Written. "Critique of the poem “O’People""from the point of view of semiotics" by Hossein Payendeh (2008), who has achieved a different reading and perception of the poem "O' People". Taghi Pournamdarian and Mohammad Biranvandi also wrote an article entitled "Why is Nima called the poet of "O' People" "? (2006), have tried to address the structural possibilities and the role of formalistic arrangements in the success of this poem. "Semantic Study, the Relationship between Title and Painting" by Shabnam Sadat Radmanesh and Hamidreza Shairi (2013) have also examined visual signs and their relationship with the creation and consolidation of artistic meanings. The purpose of this article is to analyze the expressionist and common components of the two works to show that the poetry of "O' People" is not only a modern poem, but also has many expressionist attitudes. 

The school of expressionism emerged in the contemporary period as a protest and anti-traditional current in the West. The school is based on introversion, escapism, and rebellion against traditional conventions. Nima Yoshij, a contemporary modernist poet, due to his familiarity with Western culture and literature and his deep understanding of the conditions of his time and society, fought against the rules and traditions of Persian poetry and was finally able to introduce a new form of poetry to Persian literature. In his poems, due to his special attitude towards modern life and way of expression, traces of Western literary and artistic schools are visible. The poem "O' People" is not one of the famous works that has many visual aspects and expressionist themes. This article comparatively analyzes the common and expressionist principles and components of this poem with the painting "Scream". The most important expressionist components of "O' People" poetry and the cryptocurrency are: metaphor of affliction, expressionist outcry, exaggeration and emphasis, meaningless characters, symbolism, and the one-act scene.The existence of expressionist principles and components in the poetry of human beings and the "scream" painting shows that these two works are not only modern, but also carry a bitter message of the death of human values ​​in contemporary society. Fear and anxiety are among the most important inner feelings that are embodied in the poetry of the people and the shout board and infect the audience. This fear and anxiety is the product of human indifference and painlessness, which is immersed in the sea of ​​modernity and modern industry. The meaningless characters of the two works, in fact, represent the human beings of contemporary society who feel lonely despite scientific and technological advances. These characters have an expressionist presence in the poetry of the "O' people" and the "scream". The expressionist cry that resonates in the poetry of human beings and the "Scream" painting, in fact, expresses the pains and sufferings that take modern man away from his identity day by day. The poem of the "O' people" has a narrative and theatrical structure and visually, it is very similar to the shout board. All events take place in a slice of time and in one scene, and the audience communicates with both effects by watching this scene. 

The poetry of "O' people" and the painting of " scream", with a philosophical and religious background, depict the worthlessness and industrialization of modern man. The intellectual climate of twentieth-century societies was influential in the creation of similar literary and artistic works among different nations. The similarity of the themes and structural elements of the poetry of "O' people" and the painting of "scream" were influenced by the atmosphere of the societies of that time. The presence of expressionist elements in the structure of "O' people" and the shout-out board shows that the audience is facing an unreal effect. Scary and terrifying atmosphere, seeing the indifference and meaninglessness of modernism, using symbolic patterns to convey fear, anxiety and public outcry, striving for public awakening and emphasizing emotional experiences are some of the most prominent expressionist and common signs. They are quite effective in the success and permanence of these two works. In "O' people" poetry, the artistic use of the principle of surprise, telegraphic expression, visual character in the reflection of human ideals, emphasis on the short and emotional stanza of "I-Adams" and the appropriate use of sound and color of words to create space and Staging is one of the most important features that make it a modern poem.

“Collective mobilization” is one of the most widely used models in the field of contemporary political sociology, which makes it possible to study and analyze the internal mechanisms governing social movements, revolutions, and political unrest. In the present study, the narrative of “Birds of the World” in Manṭeq-al-Tayr as well as the story of “Torquate Pigeon” in Kalile-va-Demneh are successful instances of collective action and mobilization in classical Persian literature aimed at restructuring the status quo. Therefore, it is necessary to study the quantitative and qualitative variables governing their internal organization. The application of indicators such as the principle of wise actor, the principle of public relations, the principle of structure of collective action, the principle of quantitative and qualitative coherence, and the principle of motivations and behavioral patterns, etc. reveal the structural complexity of such collective actions. In this article, an attempt is made to study the internal mechanisms governing the two narratives using qualitative comparative analysis to assess the degree of coherence as well as the explanatory and interpretive capacities of each story.

Abstract The theory of alienation accepts a fixed point that there is a complete unity between existence and human nature, while if the two are in struggle, existence becomes separate and alien from human nature. Marx's historical materialism, which seeks the reasons of all social portents in material relations and social conditions, sees the cause of this alienation as the contradiction between the forces of production and the relations of production. In this situation, objectivity controls human relationships and stops objectification and mental expansion. In this research, with the method of library study and qualitative analysis of the text, we first found cases of alienation in Saedi's stories, and then, relying on Marx's historical and dialectical materialism, we analyzed why and how its material details. The premise of the article is that in his stories, Saedi sees alienation, as well as metamorphosis, as the product of a conflict between the personalities of people alienated from work, capital, means of production, bureaucracy, division of labor, and the social conditions in which they live and possess.

Classicism is one of the oldest literary schools which dominated more than 2300 years over European literature. The major principles of this literary school include looking at the past, imitating nature, rationalism, moralism, and teaching with enjoyment. Though the Persian literary work namely Kelile and Demne is not included in geographical domain of this literary school, the prominent features of the school can be applied to it. In a descriptive-analytical method, the study attempts to investigate classist principles of the Kelile and Demne. The prominent results include the followings: 1. Kelile and Demne of Nasrallah Monshi consider the classic works of the past and sometimes imitate their themes and style. 2. It imitates nature and social experiences. 3. It attempts to teach pleasurably. For example, it considers proportions in form and meaning and teaches different sciences. 4. Kelile and Demne narrates some fables which seem to be real if we consider their cultural backgrounds. It is a technique that is called verisimilitude. 5. In bringing moral contents and themes, Kelile and Demne encompasses Islamic morality, humanistic morality, and Indian morality. Hence, Kelile and Demne can be generally categorized as moral classic work of literature.

If we admit that culture is a kind of text, we must inevitably accept that “The History of Jahāngushā” is a text that is the point of contact of different ideologies, each of which forms a part of Iranian identity and culture. Contrary to formalist approaches, an attempt has been made here to revisit the text based on those approaches of literary criticism that read the text in a dialectical and interactive connection with the material contexts of its production. Therefore, first, the ideologies in the text are introduced and analyzed, and after determining their role in shaping the ideological system of the History of Jahāngushā, their discourse contradictions are revealed, and finally, the impact of these ideologies on the text is discussed. Various factors such as historical context, social, cultural, and ideological institutions have been influential in the composition of this text and its linguistic form. It seems that more than the linguistic and expressive complexities, it is the discoursal, ideological, and cultural contradictions that have caused confusion and complexity of the text. Analyzing and retrieving the ideological currents of the text not only explains the reasons for its different readings but also helps the reader to reach a new and different judgment of the literary, historical, and cultural aspects of the text.

Investigating the Role of the "Descriptive" Element in Creating the Absolute Space Ruling on the Stories of Malone and LiveAbstract"Descriptive" is one of the main and integral features of any story. Among contemporary writers, such as Sadegh Hedayat, an Iranian writer and researcher, and author and playwright Samuel Beckett have used the "descriptive" element to appropriately appropriate spatiality. The purpose of the authors in this article is to examine the role of "description" in creating the absurd atmosphere that dominates Beckett's "Malone dies" and Hedayat's "Tales of the Living." The type of research is descriptive-analytical and the method of data collection is library and catch-up. Analyzed material shows that, unlike classical writers, Beckett and Heday intend to use the "description" to represent the world inferior to it and to make the atmosphere of the stories hopeless. To this end, they have used narrative, narrative, humorous, or epic, and mimetic or imitative roles.Keywords: Beckett, guidance, description, absurd space, maloney dies, alive.

Classical Persian literature, like other types of art, needs new facilities and talents to convince the reader; Capacities that can hold today's sensitive and diverse reader and give a convincing answer to his political, social and psychological concerns. It seems that contemporary and non-native literary theories, which have been ironically designed to respond to the extravagance and diversity of the good reader, have the ability to revive the neglected and hidden capacities of classical works. Postmodernism and its key and special component, "Uncertainty" from the middle of the twentieth century until now, in various fields of art - architecture, film, painting, literature, theater, calligraphy, etc. - more than other approaches, debate has created contradictory academic and non-academic backgrounds. This theory seeks, above all, skepticism in macro-cultural, religious, literary, historical, political, and social narratives, as well as attempts at descriptions and new and capacity-building. Mantehq al-Tair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and non-academic critiques and controversies surrounding it, still has the energy to make sense of convince today's readers.

Postmodernism is one of the theories that escapes the service of hegemonic ideologies and claims to hate imitation and limiting expectations. Postmodernism is the end of macro-narratives and, in general, the end of mono-narrative and absolute thinking. Postmodernism favors giving way to multiple sub-narratives. In this article, we have tried to reach less familiar readings of the story of Simorgh in the Mantehq al-Tair by applying this theory. Obviously, if we talk about the story of Simorgh, we mean that these postmodernist readings may not fit the details of the stories in Mantehq al-Tair and the pragmatic view of Mantehq al-Tair rejects such readings, but in a big way and based on the story of Simorgh and the birds, it can support and acknowledge new semantic horizons. The story of Simorgh in Mantehq al-Tair, as much as it has energy to establish and confirm metaphysical and mystical beliefs and interpretations, also has the necessary interpretive power and ability to be able to create doubts and hesitations in these beliefs without being accused of inaction and inaction.

Mantehq al-Tair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and non-academic critiques and controversies surrounding it, still has the energy to make sense of and convince today's readers. Attar, with the story of Simorgh in Mantehq al-Tair, seeks to teach how and describe a cultural, civic, public, and political action. At the end of the story of Mantehq al-Tair, when the birds realize that there is no news about Simorgh and that his presence was just a kind of imagination, a kind of dynamic realism and pragmatism arises in them and they realize that they are "thirty chickens" and They have to decide their own destiny, and their expectation is shaken by external godly forces and metaphysical controls. At the end of the story, the birds in Simorgh's story seek to get out of passivity and make an impact. Their collective identity in the form of "Thirty Chickens" has moved away from passivity and subjectivity, and they have become influential actors and actors, and the quantitative concern of the beginning of the story has finally been sublimated to the qualitative, epistemological, and cognitive concerns. The end of this story, in a dramatic and innovative way, shows the vain expectation of a group of birds who, disappointed with the existence of a cosmic and saving creature, realize that such a creature has no external existence and that their search was purely for search and futility. Birds that have grown up over the years believing that a cosmic and extraterrestrial being is thinking of managing their affairs and that its place is at the top of Mount Qaf, now realize that this creature - Simorgh - has no external existence at all and only it was an idea that completed their narrative of worldly life. In fact, the story of Simorgh and the birds in Mantehq al-Tair promotes a kind of collective authority that can be a source of real and lasting power that is productive and constructive, and integrates all capacities and civil institutions in the network of power so that it can somehow Reach a single identity and mentality; As the birds reached this unique identity at the end of the story. "Thirty chickens" reach Qaf Mountain and find that by removing the source of the unit of power and dictatorship - Simorgh - as well as the spread of power in civil institutions - Thirty chickens - a kind of identity and authority is produced that is more efficient, capable and durable. And can be considered a more up-to-date reading of the category of power.

Mantagh-al-Tair and its strong plot are specific texts that it is powerful and effective that it can receive different and sometimes contradictory semantic horizons and talk to countless receivers and audiences. Postmodern readings of the story of Simorgh and other birds in the Mantagh-al-Tair show that there are active and up-to-date semantic allusions and implications in this story that can turn it into a transcendental "hypertext". Considering the dynamism and nature of dialogue and flexibility of Mantagh-al-Tair, can be said that "pluralism", "collective action", "self-knowledge and collective perfectionism", "death of God", "the absence of words and vain human expectation", The "disintegration of social classes," the "decentralization of power and its dissemination," the "transformation of the values ​​of survival into the values ​​of assertiveness," are new semantic fields and horizons that are the product of a postmodernist and, of course, nonprofit and non-fanatical view of this. It is a unique text.

Folk tales have the ability to enhance children's developmental process, mental capacity, and verbal intelligence. In this article, a type of folk tales called "chain tales" is studied and for example, the story of "Pirzan", one of the folk tales of Lorestan, was analyzed through descriptive-analytical and qualitative methods. The premise is that chain stories can evoke a child's sense of suspense and anticipation, and make him or her eager to hear the next loop of the story, and with this structural trick, accelerate the process of maturation and intellectual development and cognition of the child. The sequence of form and, of course, the content seen in the chain stories, causes the child to practice social skills, socialization, and participation in the process of acquiring collective identity. In these stories, abstract processes such as creation, and the good and causal system that governs the world, are given to their child in a chain-like and believable way. These stories emphasize above all the need for the child to be familiar with the process of participating in collective actions, gaining a common identity, strengthening the spirit of cooperation, and social cooperation. Since it is very important for children to cultivate and strengthen the spirit and development of a collectivist personality, it is worthwhile to use this kind of chain of stories in preschool and primary school centers used by education authorities.

The face of a woman in contemporary Iranian literature is bold and different from classical literature. Bozorg Alavi and Ali Mohammad Afghani are talented writers of contemporary novels in which women play a pivotal role. In the novel “His Eyes”, Bozorg Alavi introduces a woman with a relatively different personality than the women of the society of that day. “Farangis” is a prominent female character in the novel "Her Eyes" who is modern and up-to-date and often conscious of her human rights, and she enters the political and social activities with different purposes. However, Bozorg Alavi has a bipolar view of women and he shows enigmatic and advanced aspects of her personality that are, of course, unfamiliar to the reader; but his women are self-motivated and energetic women who move away from the role of mother and wife and they seek social roles; however, women in the story of Ali Mohammad Afghani are traditional women with limited frameworks, which were normal in the society of that day. “Golanbar” is a poor, inactive and static woman who has a low-energy character until the end of the story. He is oppressed, obedient and poor in society and family, and he lives his life in hardship and uncertainty, and this poverty and limitation sometimes leads him to negative purposes.

Among contemporary stories, Malone Dies by Samuel Beckett and Blind Owl by Sadegh Hedayat have a superior place. These two works, with their secretive theme, rambling structure and unbroken narratives that do not have a specific chronology, have also influenced the plot of the stories. The aim of the authors in this article is to compare the effect of the components of surrealism on Beckett's Malone Dies and Hedayat's Blind Owl . The type of research is descriptive-analytical and the method of data collection is library and note-taking. The collected material analyzed shows that Beckett and Hedayat were able to push the boundaries of the traditional plot and create a new plot by using surreal components such as: dream, autobiography, doubt and ambiguity, creating an odd and unexpected atmosphere, rupture and disorder and surreal images. Create unconventional and sometimes artistic.

 The type of research is descriptive-analytical and the method of data collection is library and note-taking.

One of the main components of the narrative in the story is the plot. Various theories have long been proposed about the importance and necessity of this basic element. Most theorists believe that the main characteristic of the plot is to create a certain kind of unity and integrity in the narrative. Before examining the plot of the two stories Malone Dies and Blind Owl, it is necessary to include basic definitions of plot in this article: the traditional and original definition of plot and plot is the same as saying: "The framework of the story based on causative relations and "Disabled" (Forrester, 2012, p. 118). In fact, this look at the plot of the story is an answer to the question of what the story was about! The plot is also "an argumentative network that gives a logical character to the story by rationally arranging and conjoining events" (Mirsadeghi, 2001, p. 64). Beckett and Hedayat in these stories, copying the surrealists, combine dream and reality so that they may be able to induce an unbalanced plot in the reader. To examine this plot in more detail, it is necessary to examine the surrealist components of the modern plot in these stories: The first and most important characteristic of surrealism is the automatic writing in a novel. Automatic writing is one of the most direct surrealism techniques for expressing inner truths in Beckett's text and guidance: "That evening life that is like going through a recovery period. Of course, if the memories are really my memories, the memories that man tastes without wandering and following the path of the sun, without discipline, or perhaps deeper than the place of the dead, in the subway corridors and the stench of the free and humiliated groups running away, they are burying themselves to arrive at the right time." (Beckett, 2010, p. 84). The author carefully intends to create a resemblance between evening life and recovery, and in the flicker of an eye, thinks that the subway corridors are deeper than the place of the dead. Doubt, which is characteristic of modern day stories, is moving through the two stories. These mental conflicts, which also happen to reflect the author's unconvinced attitude, bring the story to a standstill. Of course, the author does not seem to want to tell us what happened or is about to happen. He wants to show the impact of what happened because in modern stories, "what matters is the effect of the event on the reader, not the event itself" (Payendeh, 2010, p. 29). This mental disturbance also makes the plot irregular. Disruption and disorder is also one of the surrealist components that has disturbed the logical order in the narration of stories, and this disorder shows the struggle between the conscious and the unconscious in the psychic of the main character of the narrative. Shed: "Order is related to how the events and actions of a story are arranged in time. The narrator may present the events in the same order in which they occurred; That is, the order of the calendar, in which case the narration of the story is direct and linear or he can quote them without order; "That is, the non-calendar order, which in Genet's term is called apocalyptic, creates a nonlinear narrative" (Shakeri, 2016: 206-223). Creating a wonderful atmosphere is another type of surrealist component that has a direct effect on the plot in the stories in question: "The last night I went for a walk like every night was windy and rainy and thick fog covered around Was. "I felt a kind of freedom and comfort in the rainy weather, which reduced the vitality of colors and the vagueness of the lines of objects." (Hedayat, 1972, p. 13) The narrator has created a wonderful atmosphere by imagining a rainy and cloudy weather, the presence of thick fog, the vibrancy of colors and the indecency of the lines of objects, etc., in which he has reached a kind of freedom and comfort. Another influential surrealist component of the plot of Malone Dies and Blind Owl is the dream and the association of the dream. This association of dreams in the two stories is so clear that it can be said that reason and logic are somehow wandering in their space. The last important component is the surrealist images, which are different from the images in realist works: "The surrealist text is shattered and scattered because of surrealist images like dreams" (Shamisa, 2011, p. 175). These images are the creators of impossibilities and disruptors of rational and logical systems that create surprise and wonder and separation from the real world in addition to expressing the purpose, create a special attraction in the mind of the audience. Exactly the same images as in the text of these two stories; The story begins with a logical word, but after narrating a few lines, the narrator describes a nightmare that shows him wandering in a world between reality and dream; The world and the horrible images that are born of the author's imagination and delusion, and in which the real, fixed and identical elements do not remain.

Important surrealist components are persuasive in shaping the plot structure of Malone Dies and Blind Owl, which include: automatic writing, ambiguity, rupture and disorder, the creation of a wonderful atmosphere, dreams and surreal images. In these stories, the sequence of images that the narrator sees in reality or fantasy advance the plot of the story, rather than the causal connection and sequence of the scenes. In general, it should be noted that Beckett and Hedayat, by breaking with tradition, have opened a new perspective in modern storytelling by following the modernists by creating an unusual plot in their stories.

The type of humor as a literary genre has always been present in the literature of this land with intensity and weakness for a long time. Humor is a critical writing that is mixed with the nectar of delicacy, that is, a humorist who cleverly and consciously expresses his protest in an artistic and beautiful way that makes the audience laugh, not a laugh of enthusiasm, but a bitter and biting laugh. In fact, humor is an evolved form of satire. This means that criticism became public insteed of personal, and also defended the right of society instead of defending individual rights. obaid zakani is one of humor who uses various techniques to create different types of humor. in this article, we have tried to examine them.

the present research has been done by the method of theoretical study and using library sources. Our study area and community is the generalities of obaid zakani, edited by Abbas lqbal Ashtiani and the efforts of parviz Atabaki, published by zavar publications.

Humorous poets and writers each deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satireeach deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satire. Sometimes in prose and sometimes in poetry, sometimes in the form of jokes and sometimes in the style of a humorous letter of advice, sometimes he invents humorous words, sometimes he interprets words in a humorous way. Characterization is also one of his tricks, sometimes he uses historical characters as his humor and sometimes fictional characters. He sometimes chooses animals as the characters of his stories. Obaid is so interested in expressing the facts and problems of his society that he does not hesitate to use vulgar words.

Obaid uses tricks such as the metaphor of Tahkmiyeh, janas, playing with words, exposing the horseshoe, inverting Persian and Arabic anecdotes, and humorous interpretation of common proverbs and humorous reasoning.

Contemporary feminism challenges the traditional theories in areas that do not take women's interests, concerns, and identities seriously and deny their effectiveness, intellectual independence, and independent personality compared to men. In protest of the traditional patriarchal movement, modern feminism attacked and criticized the structural possibilities of society and the growing trend of bourgeois patriarchy, and formed the women's liberation movement with the priority of changing and eliminating discrimination in their social relations. These thoughts gradually penetrated the works of male and female writers and formed the basis of many literary works. Shahrnosh Parsipoor, a contemporary female writer, is one of the people whose stories used this concern for equality, the social status of women, in her stories. The story of the Blue Wisdom, as a clear manifesto, represents the author's feminist mentality and tendencies. The signs such as the dominant feminine view, de-traditionalization and modernism, reliance on individuality, rationalism, responsibility and authority are some of the most obvious feminist propositions are visible in the story of “Blue Wisdom”. In the following article, Shahrnosh Parsipoor's feminist tendencies and concerns are discussed in this story.