جستجوی مقالات مرتبط با کلیدواژه « انقلاب » در نشریات گروه « ادبیات و زبان ها »

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.

Al-Sayyab and Shamlou are two of the most prominent contemporary poets who, in spite of their love poems, tried to address the revolutionary function of women in their literary work. By promoting the woman's personality in this respect, they have detached her lover stereotypical face and have highlighted their revolutionary share and their ability to fight for liberation alongside men. Therefore, this research attempts to study the position of women in poetry of the two poets, and depicts their presence along with the changes that have been made in their personality. This is why categories such as struggle for liberation, accompaniment of solving human problems, and the escape of traditions are referred to as the most important constituents of women presence in the literary work provided by these poems. In Badr Shakir Al-ssayab’s poem, except for their traditional role, women are the symbol of the vanished homeland and sometimes represent the symbol of return to oneself. However, this linear trend in presenting women reflects well in the personality of those such as “Hafsa al-omari” and “Jamilah Bouhired” and reaches perfection. Al-Sayyab seeks to depict his revolutionary function in defending human freedom by matching women's personality with “Ishtar” and giving them Christ’s personality. On the other hand, in Shamlou's poems, women play an independent role in the social struggle. “Roxana” and “Aida” are models of revolutionary women in such poems. It seems as if the poet is looking for his soul-mate so as to enter the battle with her. The results show that the occurred metamorphosis, expect for the two poet's intellectual maturity, is influenced by the evolutionary process of Arab and Persian societies, modernization process, and initiation of humanity in contemporary thought and poem.

It must be said that in the transformation of stories and history and even the war events that have occurred in recent years, semantic horizons in a wide and coherent network can be transformed and reproduced at all levels of language, body movements, and even sound and music. This means that any work can continue to exist at any time. Linda Hutcheon is one of the theorists who mentioned this term for the first time in the book "Theory of Adaptation". She believes that all stories, when reproduced in another culture and language in a time and place, can be institutionalized and localized in order to be adapted to all the conditions and ideology of the author. On the other hand, the phenomenon of revolution is one of the historical events that has a special place in the literature of sustainability. The phenomenon of revolution has a long history, and in the same way, the analysis of why and how it happened has existed since the past, especially since the second half of the 19th century. These events are like an opportunity given to the heroes to consider a path to continue their lives through the lens of political and social changes after the revolution. The Iranian revolution was formed by the rebellion of the weak class against the government. A revolution that included a populist ideology. The following questions will be answered in this study:Considering the role of irony in the dominant language of the characters in the story, what structure has the author used for the ironic style of the story? ,For what purpose does the author use "Kyokushin" techniques as a symbol of a historical moment?Sustainability literature as a literary genre, in the form of poems by poets such as Farrokhi Yazdi, Allameh Dehkhoda and Nasim Shomal, was formed during the constitutional period and spread widely in the following periods. The dominant method of narration in this literary genre is based on the concepts of resistance, sacrifice, hope, martyrdom and worship, tyranny and salvation. As a writer and theorist of the contemporary century, Linda Hutcheon has pointed out the basics of adaptation, irony in the text and also the methods of postmodernism in the novel in her works such as "Theory of Adaptation", "Irony Margin" and "Postmodern Policies". This research aims to examine a different face of war that Mehdi Yazdani Khorram has shown in the story "Red and White", with the approach of Linda Hutcheon's theories, in parallel with the real history of the Islamic Revolution and the struggles before and after it.Among the articles written about Hutcheon's opinions and also the theory of adaptation, the article "Historic metafiction; Case study: A lizard that swallowed the moon" Pirouz et al. There is another research called "From Arash Asatiri-Tarikhi to Arash Barkhani by Baizai" written by Taheri and Nobakht (2016), Nama Farhangistan, in which the authors examine the interpretation and re-creation of Beizai's "Arash Khani" text using the theory of historiographical metafiction. "Linda Hutcheon" have discussed and in the end they have come to the conclusion that the original narrative has been broken and a new narrative has been reproduced. But in terms of historiographical metafiction, we can refer to the article "Classification of metafictional elements with a focus on the short circuit and the author's communication triangle" written by Dezhban and Bagheri (2016), a literary research text that the authors in this research while examining metafiction and metafictional theories, have reviewed the characteristics of short circuit and have presented a new classification of metaphysics by providing evidence. 

This research method in the research, on the one hand, has dealt with the topic of examining the components in different historical fields and on the other hand, with the experience and compilation of different historical stages about the 1357 revolution, and in order to design a conceptual problem in a scientific field, the method of content analysis is used. The basis of Hacheon's theories has been used.

Historiography metafiction is another form of history representation that is one of the first narrative values in the contemporary century. Therefore, the past is something that must be dealt with, and such a confrontation includes acknowledging its limitations as well as its power. We receive history through witness testimony and other archival materials. In other words, we only have representations of the past from which narratives or historical explanations can be constructed. In fact, postmodernism reveals the tendency to understand current culture as a product of previous representations. The representation of history becomes the history of representation. It means that postmodern art accepts the challenge of tradition and acknowledges that representation cannot be escaped, but it can be exploited and criticized through irony and irony as well as the author's imagination. In fact, most of these claims about metafiction can be the mission of an author's experience and knowledge. The author can be self-aware of the structures of realism as well as his personal imagination to portray a narrative objectively and with expressive language in order to make the authority of the storyteller tangible to the audience with a solid body and final ending. The characters in metafiction are transformed from real and historical to structural human beings and the result of the author's mind. In fact, metafiction portrays the concept of narrative and story in the way of confrontation between creation and dissolution of the author's imagination. Such a strategy in any narrative can confuse and confuse the reader, because it does not provide solid documentation, but everything is formed in an incoherent structure and the result of imagination and reality. The combination of historical characters with fictional characters and uncertainty in the "red and white" superstition. The metafiction of "Red and White" is a narrative that, by placing random events, seeks to create a temporary thing and a sense of chaos. The author of this story is distinguished from other writers because of the exact relationship between the verbal world of the narrative and the world of everyday life that has been created during the story. Undoubtedly, one of the elements of a historiographical superstition is the presence of historical figures alongside fictional characters created in the author's mind. The false storytelling of a historical writer takes the form of a documentary by bringing real spaces and characters, and this is what inspires the reader with the true identity of the heroes. "The status of fictional characters, like linguistic signs, is the status of absence. To be or not to be. There are no fictional characters, but we know who they are. We can point to them and discuss them" (Ibid: 132). The novel "Red and White" is full of fictional characters that are present in every sub-narrative, which at first glance seem unimportant, but with a little reflection, one can understand that the author can understand the influence of a huge segment of the society from the life of each character. It has exhibited a phenomenon. From the reader's point of view, these characters may seem abnormal and unrealistic; however, the author shows this abnormality to the audience in a completely normal way with his intelligence and harmony of their lives with historical events. The historical figures that Yazdani Khorram has used in the best way in the novel "Red and White" are people who have been placed in the margins of history and only their names remain in history. People like "Abbas Hoveida" whose only death is a turning point in the history after the revolution. In this book, the author describes the body of "Hoveida" with his obsessive detail. ,

The novel "Red and White" forces the audience to discover and intuition in a completely deliberate and technical way. While reading the book, every reader looks for heroes who are somehow related to the main hero of the story. Each section of the book that is dedicated to an opponent is full of sub-narratives that become attached to a character. The metasfiction of "Red White" is a balanced story between history and imagination. In the manner of an old storyteller, the author shows his desire to create imaginary realities and worlds created by his mind, with the help of detail in each part. Worlds that may attract any reader. In fact, the character of "33-year-old Kyokushin Kai" of Yazdani Khorram can be two dimensions of the author's character during the narration. The pristine and non-stereotyped images that he has created in every fight benefit from a completely realistic atmosphere. Sometimes people assume a mysterious state, such as the character of "Mohsen" in the 14th fight, who assumes himself as a rival to the hero of the story. But again, it is not possible to definitively predict the meaning of people's actions with a logical process. In the same way, the author's method for the journey of the audience's mind to history during the narration can be considered one of the elements of metafiction. The irony of the author's language in any situation originates from his critical view. He has used special words such as upright worker, spotted evil spirit, etc. for every situation that fits the characters. Therefore, it can be said that the purpose of the author in bringing such terms is to show the type of life of an individual in the society of that period. A society that has undergone huge changes after the Islamic revolution. The relationship between the people around the hero's character and the story space is a contractual relationship and subject to the rules of the author's mind. It is as if the author has targeted the realism and concreteness of the story by bringing this amount of narration and characters. In the end, it must be said that Yazdani Khorram is like an alchemist who, in his world of inspirations from dark and blood-soaked history, has drawn out a pure and popular writing that can attract any reader to his heroes.

"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely.

The novel Her Eyes, the famous work of Bozorg Alavi, is one of the most important Persian novels that deals with the romantic relations between "Makan" and "Farangis" and their political activity in the era of Reza Shah. In this novel, Farangis, despite being a bourgeois, is a revolutionary and devoted woman who saves Master Makan from certain death with her great self-sacrifice.This reading, since its publication, has led left-wing critics to criticize the novel and later to praise it.This article tries to give a new reading of this novel by relying on the principle of "meaning uncertainty" and "the possibility of new interpretations of literary texts" in literary theories such as "hermeneutics" and "poststructuralism" and achieve a new reading of it.A reading that contrasts with the official reading of this novel and introduces Farangis as a shaky revolutionary who, in the most difficult moments of the revolution, betrays Master Makan and the movement and joins the ranks of the enemies of the revolution.The result of the research shows that the novel of Her Eyes, contrary to its apparent meaning, which has led to severe criticism from leftist critics, is inherently faithful to the theory of revolution in the school of Marxism.In our opinion, there are many in-text cues in this novel, on the basis of which a new reading of it can be offered, which is in line with Marxism's theory of revolution.

By writing Germinal in the 19th century, Emil Zola brought the working class into the novel writing world as the motive and the hero of the stories for the first time in the French literature history. He had a significant impact on the writers who constantly wrote about revolution. Maxim Gorky is also among those who had taken this into sober consideration in his work, Mother. This comparative study aims to discover the concept of revolution in both of the above-mentioned works. The chains of events in both works illuminate for us the necessary elements for a revolution to occur. Poverty, as the main reason along with awareness, leadership, and sacrifice as the main factors are among the motives of progress with revolution in both novels. Such similarities are separated when it comes to characterization and realism. In the end the both authors give hope to the fighters by depicting a better future for them.

Tahereh Saffarzadeh was born in 1936 in Sirjan. She learned to recite and memorize the Qur'an in the local school at the age of six and ended her primary and secondary education in Kerman. She composed her first poem, "Poor and winter", at the age of 13, which was written on the school's wall newspaper. She received a bachelor's degree in English language and literature from Shiraz University. It was during this period that she realized that this field of study is not practical for the present and future of Iranian students. Shortly after her son's death, she went to England and then to the United States of America to continue her education. At the University of Iowa, she was accepted in the International Writers' Group and obtained MFA degree, which is a PhD-independent degree awarded to the undergraduate and graduate writers and artists who volunteer to teach at university in a literary or artistic field of study. Following acquisition of a special poetic language, and as a result of continuous study, she succeeded in new definitions and theories in the field of art, especially poetry. The first examples of such poems made her famous, respected among poets and writers of different countries of the world, and created mutual literary connections between her and poets and artists of other countries. On her return to Iran in 1970, the authorities agreed to hire her at the National University (Shahid Beheshti). Dr. Tahereh Saffarzadeh is the founder of translation education as a science and the organizer of the first workshop of "Practical Critique of Translation" in Iranian universities. After the victory of the Islamic Revolution, her book "Principles and Foundations of Translation" was selected as a lesson book that was useful in understanding the theories and practical critique of translation, especially for students majoring in translation. This book was used in translation workshops and played an effective role in the Iranian translation scene. A few years later, a book on this field was published in England. Tahereh Saffarzadeh also succeeded in introducing a new language and style of poetry due to her literary studies and research in the field of poetry which she named it "Resonance Poetry"; an intellectual whisper that, without worrying about weights and meters, triggers a movement in the reader's mind with clear metaphors. Knowing the cultural gap of the Islamic Movement, at the beginning of this movement, with the help of well-known and committed Muslim writers, she established a center called the "Cultural Center of the Islamic Movement". After the victory of the Islamic Revolution, Dr. Tahereh Saffarzadeh was selected by her colleagues at Shahid Beheshti University as the dean of the university and head of the faculty of literature. At the age of 24, she published her first work, "Rahgozar Mahtab" (The Moonlight Passerby). Her second collection of poems, entitled "The Red Umbrella", was published in English in the United States of America by the International Department of Writers at the University of Iowa, School of Literature. Then, with the publication of the collection of poems of "Resonance in Delta", "Dam and Arms", "Fifth Journey", "Movement and Yesterday", etc., she composed a special songs for the music of the contemporary Iranian poetry. She wrote poems with religious and anti-western plots in the Iranian literature. Her poems seem frozen at the beginning and they are devoid of softness for words, but for the person who contemplates on the words, they can be seen as the blossoms behind the spiritless words. Saffarzadeh wrote weightless poetry. She believes that insensitivity and vapidity of this period is the product of the false civilization of this century. Commitment, conceptualism, thought-oriented and religious beliefs are the main components of her poetry. In addition to being a poet, she is proficient in writing, researching, teaching, and translating, as she has translated the Qur'an into the three living languages of the world. Another fact is that Saffarzadeh is known as the founder of the "Scientific Critique of Translation" and the author of the "Specialized Translation" theory in Iran. Meanwhile, Saffarzadeh's name has been registered as one of the initiators of "religious modern poetry" and also one of the founders of the Islamic Propaganda Organization's artistic field in the history of the literature of the Islamic Revolution of Iran. Possessing literary knowledge and insight, familiarity with the millennial history of Persian literature, writings in the contemporary literature, complete mastery of English and familiarity with world literature have made Saffarzadeh popular in the minds and languages of literary society from the 1960s to the present. She has also gained the attention of the world literary and academic associations. In the two collections of "Allegiance to Awakening" and "Meeting with the Morning", Saffarzadeh achieves an independent and coherent style of language and simplification. In turning the poet away from complexity and tendency to the natural tone of speech in this period, perhaps components such as the Islamic Revolution have been influential. In a general sense, Saffarzadeh's poetry can be divided into three periods. Three periods that, although sometimes close to each other, are fundamentally different from each other. These differences are sometimes so obvious that it is felt that the poet is different.
The first period begins with her introduction as a poet with the book "The moonlight passerby" in 1962, and continues until the publication of the book The Fifth Journey"." The second stage of her poetry often addresses the common people of the society. She wants to say words that are no longer complicated, but they convey a simple meaning. In the third period, she reports on religious and moral concepts. But it should be added that her statement is significantly different from the previous period; he writes many poems with great care and obsession. She does not have any excitement or emotion, and she uses her former techniques in writing the poems. Saffarzadeh becomes somewhat relaxed in the third period of her poetry, she does not have the restlessness of the first period. In the third period, she achieves a kind of calm, neither the restlessness of the first period nor the excitement and sensuality of the second period. During this time, she allows herself to be more rational than anything else. She deals with issues as they exist.

The prehistoric man represented his thoughts by narrating myths. There were many myths among the various nations, especially the nations which are civilized. Iran has myths and epic narratives of its ancient times. Each of these narratives represents part of national reflection. One example of these narratives of the story is Fereydoun and Zahak, which is a long part of this mythology. One part of this great narrative is the narrative of Kaveh and his uprising against Zahak, which is the subject of this article. As if this seemingly short episode in Iranchr('39')s epic literature has come to be a great narrative. This narrativechr('39')s purpose is an argument for the Kavian Dwarf, the national flag of Iranians. In this article, the narrative structure of this story is analyzed based on the narratology method. This narration is based on the description of the narrators such as Todorov of the building and the extract of the story. Due to this structure, the reasons for the importance of this narrative and its formation in the depth of history are represented and the values ​​of this narrative have been shown from this perspective. The result of this study is that Kavehchr('39')s narrative and his uprising are a unique narrative that has been created by the minds of the common people and oppression and expresses their wish in the form of a myth from the depths of history.

Thomas Kuhn, the well-known theorist of philosophy of science, believes that the development of a science happens when its paradigms fail and it is replaced by the principles of its rival. According to Kuhn the development of a science is not uniform but has alternating ‘normal’ and ‘revolutionary’ (or ‘extraordinary’) phases. Kuhn’s theory is so flexible that it can be used to explain revolutionary developments in any other area including literature. Accordingly, it is viable to analyze how traditional Persian poetry changes to modern poetry in light of Kuhn’s theory. The question is whether the transformation created by Nima in Persian poetry has the characteristics of the Kuhnian revolutionary phase. If not, Should we doubt his title “ the father of new Persian poetry”? The present article investigates the revolutionary or non-revolutionary features of Nima’s poetry according to Kuhn’s theory. It is suggested that his poetry can be positioned as having the characteristics of the “crisis phase” than including those of the “revolutionary phase”.

Farrokhi Yazdi is one of the innovative writers and poets in expressing social problems. By combining poetry, newspapers, and politics, he began to teach others how to deal with social issues in a new way. By Publishing the Tufan newspaper, this revolutionary poet introduced his method of struggling against oppression and injustice. For this type of struggle, he used the title of one of his quatrains at the beginning of each issue in the newspaper which was in line with social and political events. Thus, the newspaper's stance was determined. And on this basis, he presented other materials of the newspaper and addressed socio-political and critical issues. Choosing a short framework for expressing criticism is remarkable in its own way. This article examines these types of quatrains entitled: Freedom, equality, and social justice, revolution, criticism of the election and its inaccuracies, and defending the poor masses and others, and concludes that Farrokhi's method of struggle is a completely innovative one. Composing poetry and placing it as the main topic and headline of the newspaper is one of Farrokhi's innovations. These poems are thematically categorized to explain the method of the work.

Realism is a literary school of thought, influencing, objective and external emerging in mid-19th</sup> century in France and spreading rapidly while attracting the poets, authors and artists toward itself. In Iran also, concurrent with the movement of the constitutionalists, some transformations occurred in the elements of Iranian identity bestowing in terms of identity and the poets and authors paid attention to their national identity and the decline and retardation of their country. Farrokhi Yazdi and Aref Gazvini the revolutionary poets of this era, strongly inclined to liberation and supporting the laborers and farmers, they’ve demonstrated their attention to the status of the country. Applying content analysis method, (Descriptive- Analytical) the present study aims to analyze and outline the extent of the focus on the identity components of the revolutionary realism in the poems of the constitution Era realist two poets. For this reason, the identity components of realism their poetry has been analyzed. The present study findings indicated that Farrokhi Yazdi focused particularly on the branches and components of revolutionary realism and through benefitting from various representations of ritual (Islamic) and national perseverance literature, constitution Era realist poets encourages theire audience to fighting and opposition.

Ali Mousavi Garmaroudi is one of the poets before the Islamic Revolution who wrote the new poetry with religious and revolutionary elements and continued his style after the revolution. His poetry from the very beginning was connected with the spirit of struggles and forms of social and human commitment, and included concepts and subjects that were religious in nature, as well as the capacity to become a kind of revolutionary discourse. Gramroudi's revolutionary discourse is based on a philosophical attitude and a particular social and human approach that relies on religious teachings and values. This discourse derives from the worldview and the received by Garmaroudi during the years of struggle and has discursive elements and components and signs that are reflected explicitly in its poems. In this paper, the evolution of the dominant discourse has been studied in the modern poems of Mousavi Garmarudi, from which it has been interpreted as revolutionary discourse; in parallel, the components and symbols of such a discourse have been defined and analyzed.

Myths have a close connection with the phenomenon of war. The war writers can create lasting literary works by using myths. By using descriptive and analytic method, the present article attempts to consider the capacities and constraints of using myths in novels of the Imposed War of Iraq against Iran. The authors of the article have focused on political, social, psychological and cultural problems of the imposed war of Iraq against Iran and have analyzed the contexts and constraints of using myths in the war novels. The results show that influence of the Islamic Revolution of Iran on the imposed war, the influence of the Revolution in applying myths, the influence of religion on recreation of myths, the resemblance of the styles of narration of the Islamic Revolution and the imposed war with styles of narration of Iranian myths (the opposition of good and evil) can be the sources of writers for creating lasting literary works. But, some writers have one-dimensional views and do not feel the need to know the ancient Iranian mythology and mythology of the other nations, so they cannot use myths in their works.

Iran is an ancient civilized country. A search in its epic literature with venerable motifs and myths can lead us to trace back the track of many social phenomena of old-time societies in Iran, and so to claim this country to have been a community, especially one the members of which had had identity and their nationalism had always supported it. The literature produced in a community will fully reflect the ideas and introspections rooted in its social conditions. Revolution, as a social phenomenon and in its modern concept rather than uprising or rebellion, has been manifested in the story of Zahhak. This story of Zahhak and Kava is a mythical narration, and while the myths are so old that no social data could be found for them, then considering the social phenomena in Persian literary texts it can be concluded that revolution is as old as the ancient Iranian community. The present paper studies Kava’s fighting against Zahhak based on Lucien Goldmann’s theory of “Genetic Structuralism” in order to conclude that the social phenomenon of revolution had been chronicled in Iran before any other community

The time, life, poetry, literary and critical theories of William Wordsworth, the pioneer of Romanticism in English literature, and Nima Youshij, who is often regarded as a Romantic in some part of his literary career, share many similarities. Both poets lived at a time of revolution and turmoil and both revolted against the dominant literary conventions of their time with their efforts accordingly leading to revolutions in the poetry and literary theory of their land. After delineating the accepted tenets of the Romantic Movement, this article highlights the analogous biographical, socio-economical and philosophical contexts of the two poets’ career and studies the affinities of their attempts at modernizing the poetic theory and practice of their countries. To this aim, the two poets’ attitude towards concepts such as poetry and the poet, content, language, feelings and emotions, and society are examined in detail. It is explained that by being influenced by their time and the historical evolutions in the age of social, cultural and economic revolutions, the two poets were able to bring the revolution into the poetry and critical theory and practice of their time. This revolution consists of realizing the novel concepts of the age and expressing them in a new form, which is considered as the commencement of “Modern” English poetry in England and “New” Persian poetry in Iran.

This article is to describe and analyze the situation of children and adolescents’poetry in Iran during three decades after the Islamic revolution. Poetry movements, their peculiarities, the social situations, the more prominent poets and the leading poets are all the questionable central matters of a field with theoretical, historical descriptive and analytic framework. This is the first article pays attention to these movements, works, and the poets of three previous decades. A discussion about some of the eminent features of 1980s (Revolution and Sacred Defense, writing growth, empiricism, the village homesickness, the absence of criticism, and the prevalence of children’s poetry in comparison with adolescents’), the 1990s (the introduction of themes such as peace and homeland, the prevalence of lyrics, reduction in empiricism and increase in criticism and theory, divergence among the poets), and the 2000s (refusal of traditions, individualism, being impressed by translations, new definition of children’s poetry and its audiences, prevalence of satire, paying attention to the objects instead of concepts) show that the poetry of children and adolescents has experienced three various, rather distinct, movements in this period. This literary genre has been impressed by social impacts in a rugged path, and in overall it is indicated that it has a progressive trend.