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Informed by Henri Lefebvre’s “Production of Space” theory, this study aims to explore Khaqani’s representation of prison in his “Prison Poems” in the light of the perceived, imagined, and lived space dialectics. This research adopts a descriptive-analytical approach and employs library sources. The results of this study show that in the perceived space, the poet, informed by phenomenological and critical perspectives, reinterprets the material space of the prison by confronting the veil and recognising the implicit mechanisms of power; in the imagined space, echoing the prescriptive knowledge of the discourse of power, the poet, as the subject, adopts a forced understanding of the space, which reveals the power and role of other groups in Khaqani’s imprisonment; in the lived space, the poet, echoing an implicit resistance against the discourse of power, employs his imagination and poeticity to create a different space within the realm of possibilities, which has no material correlation with the real prison but only adds a utopian meaning. This study concludes that the material space of the prison, the imprisoned poet as an active subject, and the discourse of power affect the ambience of Khaqani’s “Prison Poems.”   

Imad Faqih Kermani is one of the poets of the 8th century. Five masnavis and a divan of poems have survived from him. Diwan of his poems has been published once by Rokuddin Homayunfarukh and once by Yahya Talebian and Mahmoud Modbari. Ignoring ancient and authentic manuscripts and using late, dated and incomplete manuscripts in both editions has caused problems in methodology and numerous slips in correction. In this research, we have cited four reasons for the necessity of re-correcting the Diwan of Imad Faqih, which are: 1. Obtaining new and advanced manuscripts; 2. Lack of methodology in the selection and use of manuscripts in the previous two corrections; 3. Misreadings of the base manuscript in Homayoun Farrokh's printing and the lack of reference by later correctors to Homayoun Farrokh's base manuscript. 4. Obtaining the correct form of many verses after examining the revised manuscripts. We have also tried to show the problems in the previous corrections with critical reviews; By using the newly found manuscripts, especially the 182 manuscripts of the Sepehsalar library and the 4197 manuscripts of the Noor Osmani library, which are older and more reliable than the manuscripts used in both corrections, the correct form of some verses let's shake hands

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.

Psychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.
The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and Khosrow va Shirin, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.

Method and Materials:

This research compares the type of love in the two narratives Khosrow va Shirin and Leili va Majnoon through the descriptive-analytical method.

According to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in Khosrow va Shirin, especially in the course of Khosrow's love, followed by more elements of intimacy and commitment. The results indicate that Khosrow's love for Shirin was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, Khosrow is placed in romantic love. Khosrow's love for Shirin is foolish, where experiences absurd love when dealing with Maryam; accordingly, in Shirin's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in Shirin evolves quickly next to intimacy and commitment, it can be deduced that love in Shirin, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the Khosrow va Shirin narrative is romantic love, complete love, foolish love, and empty love, respectively.

The tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, Khosrow's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.
Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

"Ma'arif al-Haqayiq fi Tahqiq al-Daqayiq" falls under the category of mystical writings. The author, Mirpadshah, identifies himself in his book as a descendant of Mir Haider Kasbi, a sheikh of the Naqshbandi sect. Mir Haider Kasbi's grave is now a shrine in the province of Nakhshab (currently Qarshi). He is a relative of Khwaja Saad and the author of "Ma'arif al-Haqayq" and "Izah al-Istlahat Va Tafsil Al-Maqamat". Written in 1003 AH during the reign of Abdullah Bahadur Khan, "Ma'arif al-Haqayq" is a commentary on "Lama'at" by Fakhr al-Din Iraqi, inspired by a man named Mirak Sufi. The author defines and explains mystical concepts at the beginning of the book. He also adds his explanations while writing Iraqi's words, whom he calls Musannef. He writes down the words of the Iraqi in red and his explanations in black. This document lacks history, including articles, dissertations, and books; however, Iraqi's existing explanations are given as background. The thorough definitions of mystical terminology are found in the preface of the version and in the section preceding the main text, which are not found in other explanations and are considered innovative. There are no duplicate manuscripts for this version. It is readable, written by the author, and contains very few omissions. The detailed description of the text "Lamaat" combined with the thorough explanations of the mystical terms, the detailed explanations of mystical terms, the elegant and eloquent choice of words, the use of literary structures such as similes, the abundance of adjectives and the information of the Naqshbandi sect make this description an effective example. During the time regarded as the decline of Persian prose, it is of great importance for prose. The command of mystical topics and the coherence of the author's writing remind me of Lahiji's account of Shabestari’s "Golshan Raz." It must therefore be corrected, in order to provide the audience with a comprehensive description of the Lamaat, in addition to the richness of spiritual literature.

Commentary on mystical works holds a significant place in the history of mysticism and Sufism with Masnavi being a captivating subject that has been extensively discussed. Among these discussions, the depiction by Molla Hādi Sabzevāri, a late philosopher of the Islamic world, is particularly important and valuable due to its coverage of legal and philosophical issues. This research aimed to explore the relationship and correlation between the form and structure of this depiction and the intellectual approach that governs it. By understanding its macro pattern based on the key constituent elements, we could better appreciate its significance. To achieve this objective, the present study examined the structural framework that governed the depiction of verses and analyzed the interpretive features observed in Molla Hādi Sabzevāri's methodology, focusing on his descriptive-analytical approach. The findings of this study revealed that Molla Hādi's method of unraveling secrets was primarily characterized as eclectic and comprehensive, taking into account both general and specialized audiences in different contexts. Furthermore, his methodological model was primarily influenced by Quranic interpretations in terms of its form. The textual evidence indicated that Sabzevāri surpassed the audience's expectations by providing theological and philosophical explanations of Maulavi's verses, demonstrating a greater inclination towards clarifying legal and philosophical viewpoints.

Curriculum planning has always been based on the needs, opportunities, and constraints of each academic discipline. Meanwhile, due to its indigenous roots and cultural significance, the field of Persian Language and Literature has long held a privileged position. Hence, compilation of instructional materials in accordance with established principles and rules is of significant importance in acquainting students of this discipline with classical and contemporary texts, whether in verse or prose. However, this undertaking is accompanied by constraints such as instructional time, compilation of content for pedagogic purposes, considerations related to assessment, and the like. In this research, six selected excerpts from Tarikh-e-Bayhaqi, which were compiled for pedagogic purposes, were analyzed and critiqued in terms of page layout, editing, and pedagogical aspects. The results of this analysis were presented in multiple tables for clarity. Through this study, the authors surveyed the structuring of the mentioned excerpts and explicated the principles and regulations of developing excerpts for pedagogic purposes.

place as a phenomenon. In phenomenology, places do have personalities and spirits depicting themselves to human beings through architectural elements and those objects being located at certain locations. Recognizing personality and Genius Loci brings about a sense of place. Sense of place differs from one person to another according to certain individual characteristics. The phenomenology of imagination regards places in the connection they have with imagination. Analyzing phenomenology of place and imagination in prison stories focuses on the location of a prison in order to identify the way a character interacts with the prison in regard to the sense of place. We’ve been trying in this study to deal with prison as a location in the fictional works of Reza Baraheni. In the stories such as Avaz_e koshtegan, Razha-ye Sarzamin_e Man, Ba’d az Arusi Che Gozasht? , and Chah be Chah Well to, Reza Baraheni deals with the location of prisons. The location of the prison is solitary confinement in those stories. Elements such as blindfolds and voices have a conspicuous presence in the above-mentioned stories. Prison, in Baraheni’s stories, helps to bring about identity formation and otherization. In order to escape the pain they feel at the torture chambers, Baraheni’s characters call on imagination with the help of literature and occasionally by means of memories, making agonizing moments of torture somehow bearable.

Modality is a semantic and grammatical category for the demonstration of the realis and irrealis worlds. It is the expression of speakers’ beliefs and mental realities on the proposition and its content evaluation. Palmer divides modality into ‘propositional modality’ and ‘event modality’. The propositional modality includes two modes of ‘epistemic’ and ‘evidential’, and the event modality consists of ‘deontic’ and ‘dynamic’ modes. Every language uses various grammatical and semantic modal operators in transforming concepts. In the present study, we investigated the linguistic modal structures and markers as well as the meaning and context in the three stories of Shahnameh (i.e. Fereydun’s Monarchy, Battle of Rostam and Esfandiyar, and Yazdegerd’s Monarchy) based on Palmer’s theory. Different modes of modality include speculative, assurance, conditionals, all types of reports, necessity, commissive and threat, wishes and fears, presuppositions, interrogative and negative statements, implication and assertion in the structures like perceptual and cognitive verbs, prepositions, adjectives, adverbs, allusion, and in the sentences expressing a general and acceptable concept such as idioms. Here, considering the setting is very important in conveying concepts of modality. The linguistic devices in these three stories are divided into three groups based on their frequencies: verbs (56%); nouns, adjectives, and adverbs (27%); and prepositions (17%).

The Modernisation of societies resulted in the emergence of the novel which truthfully reflects the society. This article tries to analyse women’s social position in the society, before the Islamic revolution, through a sociological reading of Simin Daneshvar’s novels, including Suvashun (1969), Wander Island (Jazireh-e Sargardani) (1993), and Wandering Cameleer (Sarban-e Sargardan) (2001). Simin Daneshvar is among the most prominent contemporary novelists. Pierre Bourdieu, a French sociologist, philosopher, anthropologist, and critic views capital not only in term of economics but also from other perspectives such as culture, social life, and symbolism. In this comparative study, we have analysed the influence of capital in the lives of the female characters of each story and explored the degree to which they managed to increase it. The present article reveals that women are not very successful in acquiring all kinds of capital. Zari and Hasti, the main activists of the stories, are comparatively more prosperous than other women. They both represent ideal women in their societies; Hasti, who lives three decades after Zari, has more concrete cultural and social capital and is more dynamic in acquiring economic capital.

In narrative texts, different kinds of evidence are used for more acceptability. This topic is defined as "evidentiality" in Linguistics. F. R. Palmer is one of the semanticists who divides this category into two types: sensory and reported, and also states several types for each one of them. In this research, all types of evidential markers have been studied based on these features: visual evidence (direct and indirect), auditory evidence, sense of smell, the sixth sense, similarity, types of report, experience and cognition, rational signification, prediction (Astronomy and dream interpretation), Yezidis Xvarenah, swear, and witnessing. It is concluded that the markers of guess, even though including uncertainty and skepticism, occur in the entirely factual status of preposition. In the discourse of characters (princes, heroes, mowbeds, astronomers, etc.), because of the high rationality of sender, the guesses come true, and the contrary conditions never do happen. Among the evidential features, inference from signs, regarding its participation in all the other types of evidentiality, is considerable. The following perceptual and cognitive verbs such as "didan", "šenidan", "buyidan", "dānestan", "āgāh šodan", and the metaphor like "be del āmadan", and the other words including "gomānam", "guyi", and "bar ānam" are instances of evidential markers used in Shahnameh.

Rudaki is one of the poets whose poetry collection has not been found and the existing poems attributed to him have been collected from various sources such as biographies, dictionaries, rhetorical and historical books. Nafisi studied the cited resources and collected the attributed poems to Rudaki and published them which were taken as the basis for the next research on Rudaki’s poems.  Although Nafisi tried to make a distinction between the attributed poems to Rudaki and poems of other poets in the book, there are still some verses in Rudaki’s book of collected poems that are stylistically more similar to the poems of other poets and later periods of Persian poetry. This research studies the rejection of the attribution of a fragment by the following opening-verse regarding Rudaki in a historical and stylistic manner: "I use the spirit of the prophets / What water can I get from the dry river of the Greeks?", which is addressed in the Rudaki Divan Nafisi (1963), Daneshpajooh (1996), Ahmadnejad (1997), Ghader Rostam (2013), and Dehghani (2016), and in Emami's collection (2009) and Shoar (2011) as the poems attributed to Rudaki. Nakhjavani (1955) brought it in Qatran's Divan and Ravaghi (2021) also wrote its poet of Qatran. The oldest resources which attributed this fragment to Rudaki and Qatran belong to the beginning years of the 12th century. From a stylistic point of view, excessive use of Arabic terms, the abundance of abstract words and imaginaries, the existence of religious terms, the tendency toward shariah, anti-philosophy approach, complaint, and snobbery, which are the properties and style of the poems in the sixth century, weaken the possibility of attributing this fragment to Rudaki and Qatran.

The collection of the precious heritage of mystical literature, despite the variety of themes and subjects, falls into the general category of interpretive texts, educational works, and biographies. Although these works have thematically followed their non-mystical examples, the style of Sufism in entering these categories has always been special. The present study seeks to identify a part of the collection of mystical memoirs entitled  Tabaqat Alsufia and to explain the genre position of these works. Investigating the historical course of ‘class writing’ and especially Tabaqat Alsufia and case evaluation of existing samples shows that the two works of Tabaqat Alsufia by Abu Abdul Rahman Solami Neyshabouri and Tabaqat Alsufia by Khajeh Abdullah Ansari can be considered as the most complete and best examples in the literary-mystical genre. Also, a brief comparison of  Tabaqat Alsufia with different genres of historiography and mystical memoirs and the study of the characteristics of superior examples show that although the aspect of recording events of  Tabaqat Alsufia is attributed to historiography, it is also attributed to the biography. Also, the biography feature links people to the autobiography, but the special structure of  Tabaqat Alsufia and the mission of classifying the mystical periods along with the various functions of this particular species, such as Sufi guidance and education, transmission of social and cultural values and beliefs of different periods, the expression of social and sectarian customs and traditions have been more important than the recording of events and biographies. Such features are so obvious and special that they introduce  Tabaqat Alsufia as an independent genre in the field of mystical literature.

The disappearance of the heroes and protagonists is one of the noteworthy points in Iranian fiction. At first, the current study analyzes some literary works of various nations and then, concludes that similar examples of "the disappearance of the heroes" are found in the literature of other nations. Also, it concludes that the subject has been a common theme among different ethnicities from the prehistoric to the current era. The next step is to explain the reason for this similarity, supporting the hypothesis of commonality in the literature of various nations. The authors consider the subject of "the disappearance of the heroes" from six different aspects and tries to answer these questions: What are the characters of heroes who disappear? Why do they disappear? What is the connection between the heroes and the place of disappearing (cave, mountain and etc.)? Since the subject of the present study fits well with archetypes of hero, time, journey, immortality, death and reborn, return and etc., the subject of the disappearance of the heroes and protagonists are studied by using the archetypal criticism following the theories of Jung, Eliade and Campbell.

Narratology is a new knowledge and it is at the result of structuralism revolution in the realm of fiction. In analyzing the structuralist “narrative”, internal mechanisms of literary texts will be discussed, till the internal units are discovered. This study is an analysis of the structure of “narrative” on three long poems of “Akhavan”: “Sangestan City tale”; “Dragon, ominous sorceress”, “Eighth step” .this article deal with “Gerard Genette” Ideas about narrative component: “command Time”, “mode”, “voice”, and tries to study on one of the aspects of evolution of Contemporary narrative poems. The result of this study shows that: “Akhavan” in his narrative poems has used the narrative capacities in a high standard. He hasn’t been expressed his stories in linear and comental order. Most of the time, he uses flash backs. In the three examples of his narrative poems, uses positive and fixed acceleration. The dominant frequence in these three poems, is “Singulative frequency”; even though the “Rrepeatitive frequency” is seen many times. The difference between his two poems, are significant, because their narrators are in their narration.

Despite all stylistic differences, poetry of the first generation of the Islamic Revolution has had a common feature which is being influenced by Bidel’s mind and language. Poets of this generation, due to their personal style and their own thoughts have reflected a part of spectrum of Bidel’s style of poetry in their poems. Among them the lyric poets of Hindi style get more benefit out of it. The main issue of this project is the influence of Bidel’s poetry on the poetry of the first generation of the Islamic Revolution in both artistic and non-artistic areas as well as in the realms of rhetoric, figures of speech and the language. The results suggest that among all of these, Bidel-like symbols and similes in the domains of rhetoric, paradoxical images, compounding-sensations and personification in the field of figures of speech, and reversed compounds and numerical subordinates in linguistic area are more prominent. The lyrics of Yousef-Ali Mirshakkak, Ali Mo’allem Damghani, Seyyed Hassan Hosseini, Abdoljabbar Kakaei, Alireza Ghazveh, Sa’ed Bagheri and Seyyed Mohammad Abbasieh Kohan which are studied in this paper are explicit instances of tendency of the poets of the first generation of the Islamic Revolution to Bidel; although the influential degree of each poet is different.

Julia Kristeva believes that intertextuality is passing from one semiotic system to another. From this angle, text is not just a compendium of constant meanings, but intertwined with a complex interaction amongst various texts and reveals its meaning through its relationship with other texts. This paper strives to expand on the relationship and interactions of Hafiz and Roozbahan to draw a comparison based on their concept of love and the beloved’s image. The images and actions presented of the beloved, sway the line between catharsis and simile. On the other hand, the actions of the beloved and his/her treatment of the lover follow two distinct patterns of love which have been the focal point for both poets: The Story of Mansour Hallaj and that of Sheikh San’an. The place of the beloved’s (God’s) manifestation is the world of imagination in step with olfactory, visual and kinesthetic feelings of the time of the events. In this paper, we have also focused on the semiotic systems and the change of the lingual implications in a complex network of textual relationships of Hafiz’s poems and the traditions of the Persian sonnet in the visualization of the beloved.

Structuralism، since its emergence، has adopted different perspectives for analyzing literary texts. One among them is narrative study which seems to be very interesting for scholars. Tzvetan Todorof، the Bulgarian critic، has developed a comprehensive framework for narrative analysis of literary texts which comprises semantic، syntactic and lexical aspects. This article focuses on the syntactic aspect of narrative in Attār’s Mosibatnāme. The results show that the macro-narrative of Mosibatnāme is made up of one major sequence and forty two minor sequences. The two series of sequences are connected to each other through chaining، and all of them are embedded in the third episode of the major sequence. Chaining of the sequences orders the forty stages in a narrative line so that they will be embedded as a journey in the great evolution that the disciples go through.

Today، reading old writings from new perspectives is one of the fundamental issues in literary studies. Mythical or archetypal criticism، which is integrated of psychology and anthropology، is an important school of criticism. This kind of approach is based on Carl Gustav Jung’s theories; after studying myths from different nations، Jung noted their origins and proclaimed that ‘collective unconscious’ – comprised of archetypes – is the chief origin of all human myths. According to Jung، “hero” must first fight problems، win over the “shadow” and free himself from its yoke and then achieve individualization. In this research، character of Garshasp، as narrated by Asadi، was studied according to descriptive- analytical method. in addition to introducing it as an epic character، this study offers a look into the mythical Garshasp so that the similaritie and differences between these two as well as relevant causes would be clarified. Pahlavi myths and literature recount that the final destruction of Zahhāk is brought about by Garshasp who thus completes «battle-hero-shadow» trio. But the Epic of Garshasp depicts Zahhāk as submissive and dominated by Garshasp and his ultimate battle، which is in accordance with the mythical account، never happens. Due to this and also to the dominance of «shadow» over «hero»، the «process of individuation» never occurs for hero.

Mosibat Nameh is the longest and apparently last elegy of the three elegies of the renowned Iranian poet, Attar. The narration of the journey of a wayfarer who has embarked on the path of Sufism raises the opportunity for study of narrations; given the particular narrative features of this elegy and its mystical origins. In this article, the narration on the wayfarer’s journey is studied based on the view point of Tzvetan Todorov; the Bulgarian-French historian, philosopher, literary critic, sociologist, and essayist. Among the three manifestations that Todorov proposes for study of narrations, the verbal manifestation is taken into consideration for study of this narration. The study of the four elements of aspect, time, view, and tone in this manifestation shows the concurrency of time and narration in a large segment of this adventure and the high frequency of the uniaxial narration in the time zone; the superiority of the reporting aspect of the narration; the outside viewpoint; and the focus of the narrator on the wayfarer in the first place, and the addressee in the second place.

Language is the most important and conspicuous factor in knowing a poet. That is language and its details determine the specification of a poet’s style. In the literary life of this land we have seen many poets, but among them, the only ones who we focuse on are those who have some innovations in language and linguistic matters.One of the poets who has made language innovations is "Nima" who has been studied by researchers and critics. This research looks at language matters and linguistic elements. The second issue of this study is about norm, deviance from the norm and its examples in Nima’s poetry.

Mantegh-o-tteyr (Philosophy of Birds) is a term based on the Quranic knowledge which has been interpreted both esoterically and exoterically. The former has been the source of many texts on the voyage of Birds, of which the most well-known is Mantegh-o-tteyr by Attār that is the story of detachment from material life and starting a journey in search of spiritual life. Mowlavi, among others, has recurrently referred to this expression by contrasting Mantegh-o-tteyr of Khāghāni and Mantegh-o-tteyr of Soleymāni. The first denomination is said to have an ironic connotation to a qaside by Khāghāni, but this interpretation is rejected in the present article based on the reasoning that Mantegh-o-tteyr of Soleymāni is associated with the language of Solomon (The Perfect Man) as the language of the Holymen, while Mantegh-o-tteyr of Khāghāni displays an exoteric understanding of this mystical language.

Écriture Féminine (feminine writing) introduced by some advocates of the feminist movement in the second half of the twentieth century, is a subdivision of feminist criticism. At first, due to the biased notions of the movement, the theory compared writing by women with that of men from a “contradictory” point of view and defined feminine writing as one which seeks to create a new language in order to find an identity independent from men. Later on, after prejudices of the time faded, the first theory was dismissed and the attributes of feminine writing were examined from a “difference” point of view. Proponents of this theory said that women, due to their distinct mentality and feelings, possess a language whose features are not seen, or are seldom found, in the language of the opposite sex. They discussed these difference through investigating words, sentences and themes in the works of women, especially in the field of literature. The book “Da” is among works having these features as the author of the book and the narrator is a woman. This paper is to briefly describe these features, explain their function in the book “Da”, and finally show that while recounting memories concerning the war has somehow undermined the presence of these features in the work, we still have a writing with feminine identity which is suggestive of Écriture Féminine (feminine writing).