فهرست مطالب gholāmrezā pirouz

 The theme or content is the main idea and essence of literary works that connects their constituent elements together. The upcoming research was written with this purpose to find out the ideas within the poems of children and adolescents in the nineties; For this purpose, two hundred volumes of books including one thousand nine hundred and thirteen poems of sixty poets were examined and it was determined that what themes and topics were used by poets within this period.

 In this research, based on library sources and analytical-descriptive method, the content of children"s and adolescent’s poetry in the nineties were investigated.

 After studying and examining, the intended poems were studied in categories with emotional, educational-moral, entertainment, religious, naturalism, political-social, and educational-scientific themes, and the theme and developments of each of the themes, were shown within a Ten years old path.

 The results of this research show that the emotional, entertaining and happy themes have the first and second ranks, respectively, and the educational-moral theme has the lowest frequency. This shows that the pure nature of children and teenagers needs pure feelings and comforting themes more than any other theme. The entertaining and happy topics that ranked second in this survey indicates that children’s age requires happiness and happy topics should play a role in their development. The placement of educational-moral themes in the last rank can be indicative of the fact that poets have realized that writing any kind of prescription for children and teenagers, treating them like adults and raising serious issues for them is less popular with children and adolescents. Also, the scale of frequency of these themes shows that poets of children and adolescent poems have tried to have a more accurate understanding about the psychological needs of their audience than before.

The reflection of feminist ideas and projects in fiction texts caused women to have a great desire to create women centered texts at different times. Now, with a cursory look at the previous researches in the criticism of the novel The Curse of Gray (1381) by Mahsa Mohib Ali, it is clear that most of these researches in the form of articles and theses have considered this work as a feminist text only and have limited themselves to the analysis of the elements of this approach, while the authors in the upcoming essay have tried to face the neglected issue of other critics' researches regarding the feminist criticism of the novel The Curse of Gray with a serious question. It can be considered the most important premise of this essay to resolve the ambiguity of the author's approach with regard to his idealistic effort For this purpose, the authors of this article are trying to criticize and evaluate Mahsa Mohib Ali's critical and protest approach towards avantgarde feminism in the form of the novel "The Curse of Gray". This is a research article using the qualitative content analysis method, which has been prepared by using documentary, library, interview and authoritative websites based on the authors' inferences from the research data analysis. The most important achievement of this research is the extraction and in text analysis of elements in th e field o f radical feminism such as: parthenogenesis (virginity) anti-masculinity and realization of woman's individuality, which Mahsa Mohib Ali uses these cases in th e middle of the story by changing his opinion on this. The truth emphasizes that the radical teachings of radical feminism have not achieved appreciable success in reducing gender inequalities an d oppressions, an d this has questioned the theoretical foundations o f radical feminists.

Platonic discussions on the status of poetry have instigated long-lasting disputes between philosophy and poetry. Plato believed that compared to philosophy, poetry did not express the truth. Essentially, poetry could not access truth. It just lied and could, therefore, mislead. This approach resulted in poets' attempts to defend the nature of poetry for centuries; they changed poetry to a tool for expression of ethical, moral, and political concerns to maintain that even if poetry could not access truth, it could be useful in instructing people. Nonetheless, in the contemporary world where the nature of truth has been questioned and cast doubt on, Philosophy's defense of poetry has in fact led to a defense of the status of poetic ideology. Today, poetry, along with philosophy and science, is a medium to reflect a version of truth, a version which – like the truth of other media – is no more than a representation. In this research, I intend to examine Plato's ideas as well as the criticism of his ideology in recent decades; in addition, the approach of some Iranian researchers concerning the new modes of interaction between philosophy and poetry will be criticized to determine the relationship between poetry and philosophy with truth and to discuss the status of poetry in the contemporary world.

The concept of alienation is the discourse of the modern age and the dominant feature of man thrown into the contemporary era. This phenomenon has a meaning in the west, but due to the opposition of tradition and modernity, especially in the Pahlavi era can be significantly associated with the quasi modernity, so the alienation of the subject that leads people as an intellectual class. Drawing it’s largely to be found in sterile and imperfect design in Iran.Influenced by the current of modernism and modern Western fiction, Sadegh Hedayat reflects in various ways in his works the recklessness of fictional characters, wich is the author’s own recklessness, just as the story of the stray dog describes the alienation of the subject. As in the face of the human world around him and the value system of the story takes the audience to a world beyond the biological world of “Pot”. The leading article analyzes the “stray dog” in the form of a symbolic story based on the historical story based on the historical concept of alienation and story of the alienation of quasi-modern Iranian man(Hedayat).But the presentation of different definitions and components of the concept of alienation by the theory owners has caused that there is no comprehensive and single definition of it, this issue at first sight makes us face a kind of critical view towards the fluidity and multiple meaning of this concept. The need to rely on a comprehensive approach that can create affinity between different philosophical, psychological and sociological borders seemed necessary.Due to the multifaceted and fluid nature of this concept, we are trying to reach an almost coherent and focused model based on the genealogy of the word and its historical and developmental course among the existing theories and teachings. Such a thing could not have been achieved except in the shadow of the genealogical approach that can consolidate the existing definitions and theories in a common and reliable field. So, After explaining the phenomenon of alienation based on the genealogy of this concept in the views of Hegel, Feuerbach, Marx and fromm considering the metaphors such as”power and ideology”, “identity” and “other”in the narrative system of the story and the character of “Pat” at three levels:unity and oneness, alienation and liberation from alienation are examined and based on the analysisof the story, it is concluded that migration and alienation in the story of “stray dog” finds the role of a specific theme, which to guide it has the function of a philosophical- psychological and social system, and he organizes a resistance against the alienating power exercised against individual and social life, which expresses an important concept in Foucaults’ thought.

Gender is one of the most important topics in the sociology of language. Many linguists and sociologists do not believe that there are differences between the speech of women and men. One of the literary categories that receives the most influence from the linguistic elements of gender is fiction literature. In this research, the linguistic differences of the male and female characters , in the novels of Shovhar Ahookhonum  and Soushon (1940s) and Nimeh Ghayeb in Bammad Khomar (1970s) are considered by the following elements: color words, swear words, intensifiers, modifiers, proverbs, polite language, supplementary questions, unfinished sentences, and apologies. The novels of different eras were selected, in addition to the analysis of linguistic differences, the speech type of the characters in different genres will be compared. In order to answer the question, "Can you find a difference in the language of sexuality in the novels of the 1940s compared to the novels of the 70s?" First, the components were extracted from the novels, then they were analyzed by taking statistics and frequency and drawing a table. The findings of the research show that there are similarities between the gender of novels of one decade and differences between novels of twenty. The two basic differences in the novels used are swear words.

Layered stylistics is one of the ways of text analysis (prose or poetry) in which the stylistic prominences of a work are determined using a layered pattern. Children"s poetry is one of the types of children"s literature that needs comprehensive attention and study. Therefore, in this study, with the aim of achieving the style of Rudabeh Hamzehei, her young poems are examined and analyzed in five layers: phonetic, lexical, syntactic, rhetorical and ideological, and the poet"s innovations.

The research method in this paper is qualitative and content analysis. The information is extracted from library resources and reputable Internet sites and collected through the fishery tool, and at the end, the information and statistics obtained are reviewed and evaluated.

In examining the stylistics of the layers of phonetic, lexical, syntactic, rhetorical and ideological elements of Hamzeh"s poems, we see the stylistic features that are specific to children"s poetry and increase the poetry of children"s poetry; Because the word child binds poetry to certain rules and principles, the violation of which, as a departure from the ultimate goal of poetry, is to cultivate childish poetry.

The result of the research shows that the poet has been more successful in the side and inner music of the vocal layer. In the lexical layer for his young audience, he has used more sensory and slang words and has used a variety of words. It has also shown a greater tendency for descriptive compounds than for additional compounds. In the syntactic layer, the structure of the sentences is simple and most of the verbs are placed at the end of the sentence, while the noun verbs (attributes) are used much less. In the rhetorical part, the most important arrays used by the poet have been discernment, appropriateness and contradiction, and he has used metaphors and allusions in a limited number. In the ideological layer, we see the poet"s attention and nobility to all the affairs of the child, and this shows the feminine sense and motherly responsibility of this capable poet. Also in her poetry there are innovations in the names of sounds, especially the names of sounds for children, the use of words for children and new and new similes.

According to Roland Barthes, all texts employ five codes for creating textual signification: the hermeneutic code, the semantic code, the proairetic code, the symbolic code, and the cultural code. The meaning of a text can be understood through opening up these codes. In this article, “The Tale of the Lion and the Cow,” one of the most important chapters of Kalileh and Demneh, has been studied and analyzed based on the following three codes: proairetic, hermeneutic, and semantic. The article shows that the story, containing complicated semantic and coded layers, can be studied based on Bathes’ model, particularly through the three codes listed above. The findings indicate that from the perspective of the proairetic and hermeneutic codes, the narrative includes both a main sequence and a secondary sequence, which are closely connected. Moreover, in the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. The examination of the semiotic elements help to identify covert layers in the allegories of this important work of Persian literature in which the most central actions are leaving and death, which are consistent with the political atmosphere of the story. Extended Abstract 1.IntroductionNew literary schools and theories can be effectively used to reveal hidden layers in texts and provide us the possibility of new readings of them. According to semiotics, which has been used extensively in the analysis of literary texts, meaning is produced through structures of interdependent signs, codes and contracts.  2.Theoretical FrameworkCodes are of vital importance in semiotics. They turn signs into significant systems and, thus, lead to the development of a relationship between the signifier and the signified. Codes represent the social aspects of signs. Narrative codes were first introduced by Roland Barthes in his reading of Balzac’s “Sarrasine.” He believes that every text is formed through five codes so that textual signification is created. In the present study, Barthes’ concepts are adopted to analyze the codes in “The Tale of the Lion and the Cow” from Kalileh and Demneh. 3.MethodologyUsing Barthes’ semiotic model, “The Tale of the Lion and the Cow” has been analyzed in the present study. For this purpose, instances of these codes were identified and three types of hermeneutic, proairetic and semantic codes were examined. 4.Discussion and AnalysisIn the present study, attempt has been made to examine the semiotic elements and analyze the signs in order to identify covert layers in allegories in an important work of Persian literature. Kalileh and Demneh is replete with political and social allegories. In this article, a semiotic approach is adopted to study the hidden layers and aesthetic signification of this story. Of the five types of codes discussed by Barthes, hermeneutic, proairetic and semantic codes have been focused on in the present article. 5.ConclusionDue to its labyrinthine semantic structure, “The Tale of the Lion and the Cow” has been examined based on Roland Barthes’ theory of codes. Three important codes can be detected in the story, with quite a similar frequency, a quality that is consistent with allegorical literature, in which each layer is closely connected with another layer. This makes it possible for every sign to be interpreted through all the three codes identified in this story. In the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. In the proairetic code, the narrative includes both a main sequence and a secondary sequence, which are closely connected. The most important actions in this tale are leaving and death, which are consistent with the political atmosphere of the story. Select Bibliography Barthes, R. 1380 [2001]. Marg-e Moallef dar Sakhtargarai, Pasasakhtargarai va Motaleh’at-e Adabi. F. Sojoudi (trans.). Tehran: Pajouheshgah-e Farhang va Honar-e Eslami.Barthes, R. 1394 [2015]. Roland Barthes. N. Fakouhi (trans.). Tehran: Nay.Bruce-Mitford, M. 1394 [2015]. Dayeratolma’aref-e Mosavvar-e Namad-ha va Neshaneh-ha. M. Ansari and H. Bashirpour (trans.). Tehran: Sayan.Chandler, D. 1387 [2008]. Mabani-e Neshaneh-shenasi. M. Parsa (trans.). Tehran: Soureh-e Mehr.Chevalier, J. 1385 [2006]. Farhang-e Namad-ha. S. Fazayeli (trans.). Tehran: Jaihoun.Monshi, N. 1388 [2009]. Kalileh va Damneh. M. Minovi (ed.). Tehran: Amir Kabir.Pierce, C. S. 1381 [2002]. “Mantegh beh Masabeh-e Neshanehshenasi: Nazaryeh-ye Neshane-ha.” F. Sojoudi (trans.). Zibashenakht 6: 51-63.Scholes, R. 1383 [2004]. Daramadi bar Sakhtgarai dar Adabyat. F. Taheri (trans.). Tehran: Agah.Sojoudi, F. 1384 [2005]. Neshanehshenasi va Adabyat. Tehran: Farhang-e Kavosh.

The phenomenon of alienation according to the contrast between tradition and modernity, especially in Pahlavi era should have a meaningful relationship with the quasi-modernity flow and other intellectual and political flows. As the coup occurred in 28 Mordad 1332 was the most important and effective political flow that caused despair and failure and alienation in the middle and intellectual strata of society. So, it seems necessary to address the works of Gholam Hossein Saedi as an intellectual who represents the levels and aspects of this phenomenon. Because his literature is the product of a space that belongs to the field of quasi-modernity in Iran. This article tries to analyze and explain the story of "Cow" by Saedi (Bill Mourners Collection) which is in the form of a metaphorical and symbolic story, on the basis of alienation concept, and show the adventure of being alienation of Iranian human while facing reality, and also the role of inverted ideology in creation of this phenomenon. The research in question, after explaining the phenomenon of alienation based on genealogy of this concept shows its historical evolution in the views of Hegel and Feuerbach and Marx and Forum, examines the story of "Cow" according to metaphors such as "power and ideology", "identity", "another one". During the analysis of the story, we came to the conclusion that there is a hidden philosophical-psychological-sociological theory in the construction of the work that is visible in the structure, space and character of the story. Creating problematic characters like Mashdi Hassan, represents the author search to show a symbolic world tied to theory.

One of the common goals of the education system worldwide is to make education more effective and more successful. Systematic and active learning methods are designed to achieve this educational goal; but proper use of this method in teaching the content of different courses is another issue that requires special research. The purpose of this study is to investigate the increase of student writing creativity in creative writing lessons before and after the independent variable and compare the results of teaching these two methods with the use of two constructivist methods flip classroom and lesson study.This research is a causal-comparative and quasi-experimental research with a practical purpose. The statistical population of this study consisted of students of elementary education teachers of Farhangian University of Mazandaran and the statistical sample is two 35 member - matched groups. Amongst genres of creative writing, four genres were selected in consultation with experts in the field. The elements of each genre were identified according to different sources and each element was weighted relative to its importance in the relevent genre. Writing in these four genres was received as pre-test and post-test in both groups and each element in the student writings was analyzed and graded from the perspective of Torrance's creativity criteria of fluidity, authenticity, flexibility and expansion. The results were analyzed by SPSS software. Comparison of the pre-test and post-test results in both groups showed that the flip class method and the research method showed a significant improvement in both groups. And comparing the two methods with each other showed that the research lesson had a significant effect on the creativity of the students' writing compared to the flip class.

Archetypes are rooted in the depths of collective unconsciousness; some of them, beyond the geographical boundaries, are present in the minds of all men. The present article, by using analytical-comparative method, attempts to exmine "the archetype of death and rebirth" in the poems let the Pigeon sleep by Syrian poet, Badi Saqour and in the Praise of Pigeons by M.R. Shafiei Kadkani. The issue of death and rebirth in these poems can be studied in three ways: a: The poet's focus is more on the subject of death. b: Death and rebirth occur in a balanced manner. c: More attention is paid to the subject of rebirth. The most important findings of this study are as follows: Many of the poems in these two collections are based on the balance between death and rebirth. In other his poems, Badi Saqour focuses more on death; but, Shafiei Kadkani emphasizes more on the issue of rebirth.

During the Islamic revolution and the holy defense, poetry and hymns, the representation of dynamic literature, together with the people created an important part of the Iranian history. The combination of the anthem with music, fluent language, simple and ideal concepts are the characteristics that make the anthem communicate with the audience. Research in the language of hymns reveals ideological and cultural values in society by which we can achieve a rooted history and prevent its destruction.

The study of literary texts with a variety of theories and criticisms has attracted literary scholars in the twentieth century. The purpose of analyzing texts with new theories and criticisms is to show the delicacies of literary texts. Formalist literary criticism is one of the theories for text analysis regardless of external factors. The focus of formalist analysis is on the literary text as a creature that is far from the role of producer (poet/writer) and consumer (audience) in shaping it. In this paper, according to Leech's classification, the cases of deviation are studied to show the beauty of the lyrics of the hymns.

 This paper is based on the theory of formalism and Leech's classification, the frequency of types of deviation was studied in the hymns of the Islamic Revolution, and the Holy defense. 

a) Semantic deviation: In the hymns, this type of deviation has the highest frequency with 47.79%. Poets have combined elements of poetry with rhythmic language to express deep and meaningful concepts to make the text full of emotion and more effect. Most semantic deviations in the literary context of hymns belong to irony, metaphor, symbolism, and simile. b) Archaism: The poets in the hymn use words and structures that are either not used or less commonly used in today's language; they use this method for foregrounding. c) Syntactic deviation: Ignoring the rules of language syntax, disruption, and displacement of its components and structure to achieve foregrounding indicates that the poet has done it consciously to create beauty. d) Phonetic deviation: The poet ignores the phonetic rules of language and uses phonetic forms which are not common in the standard language. He uses this technique more to maintain the rhythm of the poem. Hymns are audio elements so they have no visual function. Therefore, the written deviation frequency in them is zero. Also, since the audience is not involved in verbal complexity, the lexical deviation and creation of new vocabulary are very few. The use of dialect deviation, local and regional dialects in the hymn is zero due to the importance of conveying the message to the audience. The poets have used less of the spoken language in the anthem because it reduces the grandeur of the anthem.

The results of the study show proper use of linguistic capacities and a variety of deviations has made the hymn text fresh and prominent. Using this method does not cause speech failure, but it adds to the beauty and strength of the hymn. Among deviations, the highest frequencies belong to semantic deviation. Irony followed by metaphor, symbol, and simile are the most important ways to influence and attract audiences in the hymn. After semantic deviation, temporal deviation, or archaism, with 33.52% of the total, was used more than any other deviation. In the hymn, the proper choice of the classic word and its connection with the common language has not caused any interruption in communication with the audience it also highlights the vocabulary of the text, and it creates greatness and strength in the language. The syntactic deviation frequency is 5.63% of the total deviations. Syntactically, most of the sentences in the hymns are simple and orderly. Syntactic deviation often occurs due to ignorance of the rules of the order of the components of a sentence which is a prominent and influential factor in poetry creation. Components of phonetic deviation are used to create harmony, enhance the musical aspect, and increase the influence.

The beginning of the formation of literature, and especially contemporary poetry, was accompanied by some opposition to this modernist current from the traditionalist professors of academia.Contradictions that sometimes led to the "Western" and "alien" reading of the movement, such as the romanticism, symbolism, or surrealism of modernist works; The works, according to traditionalists, were created in imitation of Western literary schools. Subsequent generations of masters of Persian literature, consciously or unconsciously, accepted this alienation as the obvious principle, and as a result, the currents of contemporary poetry and prose were written and analyzed under the headings of Western literary schools.Part of this attribution and application is due to the weakness of Persian literary criticism in the areas of principles, methods, and conceptualization. conceptualizations, and clear terms, regardless of the background of these attributions that arose from otherness. This study shows how the use of Western literary schools in the analysis of contemporary literature began with the modernization and marginalization of the modernist current, and in the following decades the weakness of Persian literary criticism stabilized and continued this trend. The knowledge gained in this way from contemporary Persian literature is an incomplete knowledge that considers the formation of modernist literature to be sometimes an imitation of Western literature; As a result, he does not acquire a deep genealogy and deep roots of this movement, and only considers features of contemporary poetry and prose that bear some resemblance to some Western literary schools.

Shafiei Kadkani is one of the representative of contemporary political and social poetry. In this research relaying on Althusser’s theory the social-economical state in Shafiei’s poetry has been state. In Althusser’s opinion, the real art is not on ideological discourse, but allows us to see the ideology (that) this art refers to it, so this art is related to the ruling ideology of the social and its reflection. The basis of this research is the book “The mirror of the voices” containing Shafiei’s prerevolutionary poems, by discussing and deciphering of the symbols of Shafiei’s poetry it has been shown that his poetry contains two types of conflicting and different ideologies: One is dominant and the other one is un-dominant. The structure of Shafiei’s poetry is influenced by contradictions of Iranian society of the decade 50 has been changed into a bipolar structure. Since, the resolving of this conflict is impossible unless one part of it is eliminated, so the nature of his poetry is revolutionary, protesting and in following of it is challenging and idealist.

Contemporary environmental poetry is a subjective kind of poetry with an organic totality in which tradition and modernism are challenged clearly. Environmental poetry is on the peak of the pyramid of local literature and is regarded as the background for classical poetry. Highlighting environmental ideas and creating such a room in the linguistic environment creates a specific piece of poetry with a particular application. Asadollah Emadi, Ali Akbar Mahjorian and Jalil Gheisari are among the pioneering poets in environment poetry in Mazandaran whose environment poetry elements enriched their poems formally. Asadollah Emadi, Ali Akbar Mahjorian and Jalil Gheisari are among the pioneering poets in environment poetry in Mazandaran whose environment poetry elements enriched their poems formally. In addition to composing poems, these poets have produced novels and research works in issues related to culture. In this study, geographical, socio-cultural and economical features are investigated in the poetic works of the three environment-oriented poets in Mazandaran. Results show that environment-orientation, imagery, patriotism, disobedience and objection, attention to local and tribal culture (customs, traditions, beliefs) and local language are among the features which occur in high frequency. Research methodology employed in this study is descriptive-analytical using library and the Internet resources.

The theme of "death and dying" in contemporary poetry has manifested itself through different signs of black and white. From among the themes which become dual and contrasting while facing with the conflicting romanticism is death and thinking to it. This theme has been as black and white in Persian romantic poetry. The highest sample of black death can be seen in the poetry of Nosrat Rahmani and the white death in the poetry of Sohrab Sepehri, the most optimistic poet. Therefore, using content analysis, their poetry has been examined and revealed that the two poets, in addition to having two contrasting viewpoints to the subject of death, this conflict is apparent within their poetry; i.e. Rahmani, in spite of being pessimist, is sometimes optimist and Sepehri, in spite of being optimist, is sometimes pessimist. Their intellectual conflict was the contributing factor of their similarity. Rahmani, through creating scary and gothic image and using frightening and black words and selecting the name of the poem based on the theme of death, and also using some techniques such as expression, emmory, report and description about suicise, corpse, grave, talking to the death and believing himself a dead, adds to this theme. The most important factors of such an approach include the failure of social ideals stemming from the 28 Mordad 1332 (Solar Calendar) coup d ' état, being affected by the European poetry, paying attention to the works of Sadeq Hedayat, admission of pessimism as an art and using realism in romanticism period. Sohrab Sepehri, due to his tendency to mysticism of Zen and Khorasan, sees death through having positive and white views. Through creating positive images and his mystic ideas, Sepehri shows his ideas by statements. In his last four books (Miad Dar Lajan, Hariq Bad, Pialeh Dor-e Degar Zad, and Boveh Siah), Rahmani sometimes depicts a positive image of death. The negative and grey image of death by Sepehri relates to the beginning of his poetry and his first two collections called Marq-e-Rang and Zendegi Khabha. In his poetry, Sepehri has been affected by the dominant style which was common in his era.

This research is investigating one of the most common types of postmodernism fictions named metafiction. This kind of writing including self-referential and disclosure techniques not only exposes fiction but also explores the word out of context. Patricia Waugh emphasizes on this kind of writing with using methods and techniques that metafiction’s writers used it to write a story about story. This paper is based on reviewing and criticizing a fictional work and it is written according to the library method. This research with scrutiny about metafiction’s general characteristics like: centrality of language, Framework, The story as an artifact, parody and ontological Metafiction’s nature, proceeding some writing techniques and methods that are hidden within this general component's. Then it criticizes Iranian metafictions. It has been concluded that the works that are described in the name of Metafiction in our country are far from the postmodernism’s escape, and precisely based on predetermined criteria and parameters, and the artificial and mechanical aspects of these stories conflict with the normal nature of postmodernism.

Although the present world is seemingly free from myths, yet they have their own place in modern man’s mind. Artists especially poets of every period more than the others have a significant role in designing and foregrounding of myths. Among different literary schools, Romanticism has a greater regards for myths. Hussein Monzavi, the contemporary Iranian Romantic poet, has considerably benefited from a variety of myths in his sonnets. They are manifested in his works in three major forms of “repetition”, “alteration” and “reinvention”. The present research aims to explain how in the light of Romantic thinking myths were mythologized and innovatively utilized in Monzavi’s sonnets. Also, in order for a more precise analysis, some charts have been provided at the end.

Critical discourse analysis is an Analytical method which seeks to understand different discourses, and determine their relationships with power. Critical discourse analysis has different approaches including reliable and comprehensive views of the Norman Fairclough’s theory. Because of its nature, literature is one of the emerging arenas of discourse. It is full of historical facts expressed in the form of stories and novels. Through the analysis of these stories and novels, it is possible to gain a better understanding of the relevant history and culture. Such texts are mainly representative of sociopolitical realities of a society to raise the awareness of the public. This paper is an attempt to explore Chubak’s first novel, Tangsir, based on Norman Fairclough’s theory of critical discourse analysis. The novel was published in the 1340s, when Iran experienced a decade overshadowed by ideology and turbulence. The Findings indicate that the novel has anti-government, anti-authoritarian and anti-colonialism themes. It is a revolutionary and unifying literary work.

Dialogue has opened a new horizon for reading texts in literature. By using dialogue, Attār of Nishapur has tried to explain the relationship between master and devotee, so to interpret spiritual journey (Suluk) and transformation of personality. Also, in education there is a kind of verbal and intelligible interaction between master and devotee that helps to reach the devotee to intelligible and personal perfection. So, it seems that we can find some reasonable interactions between spiritual journey (Suluk) and education in analyzing the relationship between master and devotee. Based on theory of constructivism, the present article attempts to re-read the relationship between them and to analyze the story regarding the journey of the birds towards Simorq. We focus on the dialogue as an element that provides coherence, and consider the functions of this theory. Emphasizing on dialogue helps to know the importance of the other, as well as organizing and partnership.

Based on Bakhtin’s theory of dialogism, any speech can potentially be bilateral, i.e. produced by one party and listened to by another one. Essentially an anti-Stalinist and anti-formalist theory, it focuses its attention on prose, especially the novel genre. This theory can, however, be applied to different forms of Persian literature (e.g. narratives, epic, mystic mathnavis, and love poems). Bakhtin puts dialogue in front of monologue and divides it into different forms, such as internal, external, direct, indirect, hidden argument. This study attempts to compare and contrast the Asoorik Tree, a debate between a goat and a palm tree, and Khosrow and Riddack, a debate between Khosrow II and a boy called Vas Pooher. Both works belong to Pre-Islamic Iranian literature and are based on dialogue; however, the forms and the contents of the dialogues differ. Besides introducing these works, it has been tried to give a clear picture of the characteristics of each one of them through Bakhtin’s theory of dialogism. The results show that Khosrow and Riddak is a dialog for trial: one side (Khosrow) asks questions and the other side replies in order to prove himself and the desires belonging to the fathers’ class. There is no imperative and exclusive voice in any of the two works.

One of the most important literary currents that was strengthened in Iran's poetry in the 1950s following the coup d'état of August 19, 1953 was romanticism that prevailed the field of poetry. Dark themes became commonplace with extreme and unprecedented emotions; themes that diverted this version of romanticism from the essence of lyric which often meant that the poets either speak of death of love, or brought it down to its lowest level. These poems, belonging to a current known as dark romanticism, reflect themes such as thoughts of death, feeling of being cursed, rebellion, declaring sin, disbelief and immorality, Satanism, despair, and so on. Some scholars have defined these poems as lyrical romanticism, while lyrical and dark romanticism have fundamental differences, including in their world views, themes and contextual factors. In this article, after examining the nature of dark romanticism and its sentimentalism in Iran, common dark themes in the poems of some poets such as Nader Naderpour, Nosrat Rahmani, Karo, Hasan Honarmandi, Hamid Mosadegh and Forough Farrokhzad are evaluated. The results of the study shows that, with regard to the focus on themes such as thinking of death, disappointment and despair, rebellion and being cursed, fear, satanism, addiction and inebriation, and opposing the ethics and social norms, disbelief and denunciation of love in the poetry of dark romanticism, these poems cannot be identified as lyrical romanticism. Accordingly, romantic and sensual poetry of the 1950s was divided into two categories which is lyrical and non-lyrical romanticism.

Today, the debate over the comparison of literary works across various linguistic and geographical fields is regarded as one of the most serious issues in literary criticism. The present study is a comparison of two influential literary novels: a Persian novel, The Patient Stone (Sang-E Ṣabur) by Sadeq Chubak and a French novel, Germinal, by Émile Zola. No dynamic literature can overlook the influence of other countries’ literary works. Iranian and French novels yield to comparative analysis. Emil Zola, the founder of naturalism, introduced positivism to literature, and Sadeq Chubak is the Persian representative of this school. Studies show that Zola considers the chief principles of positivism such as empiricism, observations, in detail analysis of surrounding facts, factors such as inheritance, genetics and human physiology. Choubak too, has a preference for features of positivism such as observation and experiment, inheritance and genetics, and rejection of superstitions in The Patient Stone (Sang-Ṣabur) but there exist some differences in methods of applying positivism in these novels, which will be dealt with in this research through comparison. In this article, with a descriptive analytical method, similarities and differences in the positivistic approach of the two writers will be enumerated and analyzed.

The beginning of the imposed war was a starting point for the creation of a kind of narrative literature which still, after thirty years, there is no consensus on naming it. The major part of this kind of literature that was written based on revolutionary and Islamic thoughts is known as “Holy Defense Literature”. The holy defense novel is a type of story which was created on the basis of propagation and the design of religious values. This literary type has undergone various ups and downs, gradually steps toward the practice of modern techniques inthe field of narration. Sard-e Sefid is a post-modern novel by Kaveh Bahman. What appoints this novel in post-modern category is its nonlinear time of narration, change of narrator, short connection character's involvement, interlinear, confusion of elements of traditional plot, and revealing the problems of writing. Studies indicate that available techniques in this novel, have regional and native output, and are at the service of expanding ideological principle of the author. Bahman simultaneously experiences creating formal work in the field of holy defense and also tries to take advantage of post-modern techniques in a diminished form, conform to ideological output that focuses on different perspectives of Shahid Allah-Reza Latifpour's life, and tries not to offend against religious framework. He works on its content emphasizing on ideological process, idealism epic and religiosity. The result of this approach is the creation of this work of art that is interpreted as post-modern novel. This investigation, not only refers to the post-modern techniques in Sard-e Sefid, but also aims to depict how Kaveh Bahman takes advantage of form and content at the service of realization of religious ideology.

The rise of the constitutional movement (Mashrootiat) was an introduction to the changes in the traditional society of Iran. This movement (constitution) has led to social and cultural development since it required some orientations to make different groups of people – either intellectuals or illiterates– familiar with the political, social and cultural modernized waves. These orientations were provided through translating European books into Persian, Iranian people’s relationship with people from other countries, intellectual’s knowledge of science and culture, college students and industrial effects, renewal and modernizing the whole country. After the familiarization, there were developments in all aspects of an individual life. During this period, Iran’s literature accepted the cultural changes and developments due to the new ways of social and political activities in the country. In order to be in harmony and adopt these developments for achieving the public’s goal, there was a desire in literature for new method and style considered by the poets and writers. MirzadehEshqi is one of the most active poets and the most effective figure in the literature during the constitutional movement. He realized the need for the change more than others and revealed this important factor in his poems. MirzadehEshqi is a pioneer in applying a new style in Persian poetry while maintaining its origin. During the wave of asking for development and changes, MirzadehEshqi – in his short life – made some changes in the shape, language and content of the poem considered as a significant movement.

One of Sepehri's poem collections, namely "Seda-ye-Boo-ye Ab", is the essence of his thoughts, emotions, longings, and inner world through which his worldview can be understood. Elements such as nature, travel, and escape from urban life and industrialism, are symbols of Sepehri's worldview through which his experiences can be tangible since these elements are a microcosm of Sepehri's worldview that can be meaningful by connecting them to one another and also by a broader connection to the whole. This method of reading has been established in Wilhelm Dilthey's hermeneutic theories in which it is vital to understand the author's worldview –through exclusion of time gap and understanding the conditions under which the literary work is created- to understand the author's work since a literary work is the illustration of the author's worldview and the reproduction of the author's emotions, wishes, and longings can be gained through understating the text. This study is an effort to interpret and analyze Sepehri's discourse in Seda-ye- Boo-ye-Ab based on Wilhelm Dilthey's hermeneutic principles.