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

Attention to the status and literary characteristics of women's literature in contemporary literary criticism is closely linked to the growth and success of women's writing and related topics in this field. This includes women's identity, their style of speech, and language, each of which can be examined in more detail. In this context, one can explore the emotional elements of women and the aesthetics of their speech. Among contemporary female poets who have infused their words with affection and passion, elaborating on the traits of womanhood, is Ms. Susan Alivan, a Lebanese poetess. Through her thoughts and reflections, she aims to change her society's view of women and present woman as a model of sincere emotion and the essence of affection and vitality. She draws attention to women's latent capabilities and talents. This article takes a descriptive-analytical approach to introduce this poetess and analyze the aesthetics of her feminine language on four levels - phonetic, lexical, syntactic, and communicative - within her poems. It also delves into her personality traits, writing style, and the beautiful spirit that shines through her work. Examining the poetic beauty in this poet's work reveals a strong rhetorical power and artistic depiction. Her words present a miracle to the literary community, particularly women, through gentle poetry and heartwarming discourse. She portrays the status and role of women in society while reshaping societal attitudes towards women's capabilities as a means to strengthen social bonds.

Historical geography is a new scientific trend that is placed between the two sciences of history and geography, and in this science, natural sciences in the field of geography and spiritual (human) sciences in the field of history are discussed. Although historical geography is extracted from these two sciences, it can be said that it also feeds these two sciences. Considering that poets, like geographers and historians, pay attention to natural and spiritual sciences in their poems; Therefore, some poets who have been in wars and traveling with kings and emirs, their poems contain subtle and original points in this regard. Sometimes references are found in the poetry of poets, which are less discussed in other historical works. Although according to the evidence, Hafez was not a traveller, but he sometimes mentions places that are worthy of attention. Compared to other great poets, including Saadi, Hafez has few references, but these small references are sometimes very impressive and significant in his beautiful poetry. Among these poets, we can mention Hazrat Hafez, who has good references in this regard in his poems, and especially in a sonnet, "You are the crown on the head of the good people of the country, like a crown" in his poems. He has revealed his glory. The findings of the article indicate that Hafez has made clear references to some historical topics and topics in this sonnet, which has provided useful information for historians and researchers in the field of geography.

Speech is the key in thoughts and expresses human feelings and emotions. One of the concepts worth thinking about in Hakim Nasser Khosrow's poetic divan is the category of "speech and its criteria". For this reason, this word has been mentioned many times in his poems due to the necessity of conveying meaning and being an effective tool for calling and teaching Nasser Khosrow considers the privilege of man over other beings as having "the speaking soul" and the so-called scholars of logic in speech and expression, the expression that originates from the gifts of wisdom, wisdom and moral virtues. The purpose of the upcoming research was to investigate the aesthetic and allegorical view of the poet on the value category of speech. Therefore, the method of library research and the method of analytical and descriptive work have been followed. In this article, the author is trying to answer this basic question: how did Nasser Khosrow portray the importance and value of speech in his artistic vision and what elements did he use to create allegories. The findings indicate that the prominent functions of allegory in the poet's poetry are acceleration, facilitation and understanding of poetic concepts, and beyond that, it is an arena for his creativity and ability to use rhetorical methods to explain and explain educational and religious ideas. He is Nasser Khosrow has used the elements of nature and its manifestations such as birds, plants, precious stones, minerals, etc. to create his beautiful and original illustrations.

Resistance, in its literal meaning, refers to the opposition of powers. In terminology, it signifies steadfastness, fighting against the tyranny of oppressors, and preventing displacement from one's land. Literature of resistance or sustainability is a collection of poetic and prose works that address the ugliness of internal atrocities or external invasions and adhere to a specific semantic structure. Among the works that fall under this extensive literary genre are the poems and lyrics of the February 14 uprising in Bahrain. In these works, poets fully adhere to the unique structure of sustainability poetry while also discussing their literary expression of domestic and foreign political and social issues, encompassing all the main concepts of sustainability literature. These concepts include calling for struggle, depicting the face of tyranny, praising freedom and liberty, representing bright horizons of victory, reflecting the desperation of the people, and commemorating the martyrs of freedom. The language of the poems is simple, fluent, and free from complexity, symbolism, and cryptic language. This research aims to analyze and explore the fundamental themes and hidden meanings of words and sustainability concepts in the collection of poems by Al-Sayyed Zaki Al-Yasri using a descriptive-analytical method.

In their poems, Sanaei and Saadi have repeatedly talked about Shariah and jurisprudential issues and have explained part of their approaches in various fields by relying on these issues and their broad semantic dimensions. Based on this, in the forward research, the aim is to deal with the two sharia categories of theft and drinking alcohol and related rulings in the poetry of these poets, and finally, examine Islamic jurisprudence from a new perspective and with a poetic attitude. put The main question of the research is, what concepts have Sanai and Saadi explained and made available to the audience by using the mentioned jurisprudential terms?

This research was done based on library sources and descriptive-analytical method.

The words of Sana"i and Saadi are full of direct and indirect references to Shari"a boundaries, and they have used every expression, including Shari"a terms, to express their opinions. As a result, all the examples used in their poems, which contain concepts related to theft and drinking alcohol, do not have a jurisprudential function and have a multifaceted aspect.

The mentioned poets have tried to provide their mystical and moral messages to their audience by using the capacities of the concepts and terms related to the Shariah limits, and therefore, their poems in most cases are not through the gate of jurisprudence. It can be analyzed and analyzed from a literary and mystical perspective.

In the epistemological perspective of Sohrab Sepehri, the intuitive view in interaction with art plays a fundamental role in developing the scope of knowledge and discovering the truth and angles of existence. This artist-poet has once again recreated the affairs and phenomena of existence with a deep and artistic look by passing from the inevitable and imposed constraints of the conventional reality and the usual view. He has used the capabilities and capacities of art to describe and interpret the unknown and unknowable things, convey the perceptual content and life experiences, poetic emotions and other observations in order to expand the boundaries of knowledge and discover the truth. The meaning of artistic re-creation is that the artist, in a pure transformation of understanding and attitude, by transitioning from symbolic knowledge that only shows the procedures and a limited aspect of the subject of knowledge, achieves intuitive knowledge and removes the original facts. Recreate contractual concepts and remove intermediaries. Sepehri with different approaches and methods, including: 1- visualization and experimentalization of situations, findings and perceptual content; 2- Change in the junction and horizon of vision; 3- Using the concepts and terms of different sciences; 4- Philosophical thought and perspective has gone beyond symbolic knowledge and with the artistic interpretation of his life-world, he has devoted himself to the development of the boundaries of knowledge and understanding

Analyzing cognitive or conceptual metaphors in any text and writing can be an important tool in discovering the meaning of the text. In other words, conceptual metaphors make some obscure matters and concepts visible. For this reason, in the better understanding of the poem of Holy Defence, conceptual metaphors are used to answer the question of which mental, emotional and emotional concepts in such poems and compositions have been the focus of poets and from which field They have benefited from visualizing and objectifying their mental affairs. In order to find the answer to this question, in this research, the author, using the descriptive-analytical method and library tools, examines the conceptual metaphors of front and war in the poems of the holy defense poets of Yazd province in the collection of poems of the gathering of artist martyrs and shrine defender martyrs in the book "From Art to Shrine" " Paid. The results of the research show that the conceptual metaphors used in the poems of the poets, for each of the mentioned metaphors, three models of anthropomorphism, plant-morphism, and physical-morphism have been given a lot of attention.

In terms of tone, structure and application, Ashurai poems are presented in various forms with the theme of mourning, with a mystical, epic, moral and social approach and sometimes with a combination of these approaches. In this essay, with the descriptive-analytical and testimonial method, the aspects of beauty and blending of Ashurai poet's emotions and imagination with historical event are expressed in the types of Ashura poetry. The results indicate that the types of Ashurai poems are mixed with frankness, simplicity of language, truth, intimate message and thematization, and due to the nature, taste and success of the poet as well as the support of the Ahl al-Bayt, the intended form of Ashurai poetry is sometimes a work of art. Classical and sometimes with a combination of singing and eloquent music, poetry is drawn in the circle of Seyyed al-Shahada (PBUH), and this initiative leads to the creation of a special type of this type of poetry. The elements of language, music, imagination and emotion in all types of Ashura poetry of Yazd have an explanatory function in the philosophy of Ashura, and the images are based on sensory knowledge and the principle of association.

Colors affect human understanding of the phenomena of existence. The mental tendency towards color and the use of its spectrums is a reflection of various psychological actions. Each color leaves a special effect on the human body and soul, which can be proven by the two sciences of physiology and psychology. Poets have a deeper understanding of colors due to their sensual and different view of the world, which is reflected in various ways of illustration, from simile and metaphor to sensibility, defamiliarization and symbolism. The present research has analyzed the poetry of Simin Behbahani and Golrokhsar Safi Ava, two contemporary women poets from Iran and Tajikistan tradition and innovation in their poetry, and many of the deep and incidental images in their poetry have been achieved through the use of color and the creation of innovative words. As a result, both of them have used the color "black" more than any other color in order to overcome, from the perspective of Max Loescher's color theory. Both poets tend to go beyond the sad and hopeless spirit; Nevertheless, in this area, Simin's poems have more frequency, variety of spectrum and more meanings in comparison with Golrokhsar, and its application takes on a realistic and descriptive form.

Discourse analysis allows for a new and comprehensive understanding of the text by analyzing multiple aspects of the text, and the relationships of language with social-intellectual structures are also identified. The current study uses the descriptive-analytical approach and the American school of comparative literature to examine and analyses the discourse systems of two well-known patriotic poets in Arabic and Persian literature. Two contemporary poets from the Arab and Iranian nations, Aref Qazvini (1882-1933) and Ali Mahmoud Taha (1901-1949) respectively, have a distinct role in expressing and projecting national sentiments and issues relating to the homeland. The primary question of the study is how successful discourse analysis is in Ali Mahmoud Taha's and Aref Qazvini's poetry. The results of the study demonstrate that certain words and sentences are employed in both writers' poems to emphasize the national identity, all of which are consistent with highlighting patriotism, long for the country, and national pride. This outcome demonstrates the intellectual affinity between the two poets and their shared perspective on the usefulness of patriotism as a strategy for resistance and standing.

binary opposition of place is a type of critical analysis that examines the differences between pairs of spatial words that contribute to the beauty of the text with their semantic functions. Since the presence of place is one of the most prominent features of Palestinian poetry Therefore, sometimes poets seek help from it in order to express their intentions and talk about their pleasant and unpleasant feelings. Naji Alloush, a contemporary Palestinian poet, was able to instill a network of his desired meanings and concepts into the audience by using the contrasting spatial structure and behind all these words, there is a place for his psychological, political and social concerns, which is indicative of his emotions and opinions. This research tries to investigate the most prominent contrasting places in this contemporary poet's poetry by using the descriptive-analytical method in order to achieve a correct understanding of the semantic relationship between two contrasting spatial concepts. The findings of the research show that spatial duals played an important role in conveying the poet's inner feelings towards two different places and expressing his thoughts. The most important dualities used are: connection and its contrast with separation, Homeland and its confrontation with exile, Here and its contrast with there. These duals express the concept of identity, anti-colonialism, the poet's concern for his homeland and the Arab homeland, and the sadness of a place of alienation.

 In this research, the views of the Holy Quran and the hadiths of the innocent imams (peace be upon them) about generosity and its reflection in Saeb Tabrizi's poetry were examined. Using the qualitative (descriptive-analytical) method, information and data were collected, analyzed and prepared. This research shows that generosity is one of the basic principles of values in Islamic and human society. In the Holy Qur'an, the Merciful God has encouraged and ordered people to do this and has given a great and good reward to the generous. Also, countless hadiths about generosity have been narrated from Imams Athar (peace be upon them) in authentic books. Saeb Tabrizi, influenced by the Qur'an and hadiths, paid infinite attention to generosity and sympathy for the poor, and he can be included among compassionate, benevolent and encouraging poets, because he believes that this is necessary in human society. It is for people to feel responsible for the problems of others and to be generous and kind to the needy.

One of the most contemporary and significant areas of research in literature and the arts that has attracted significant attention of critics and researchers today is the field of "interdisciplinary" studies. In this research field, comparative literature studies within the American school are considered a subset. This field emphasizes that to better understand and comprehend literary productions and phenomena, it is necessary to establish connections between various forms of art and consider their relationships with social and cultural backgrounds. The fundamental principle is to move away from a biased view of literary texts and establish connections between branches of the humanities so that we no longer would witness the isolation of these sciences from artistic branches. Recent experiences and research have shown that a work of art can both influence and be influenced by other artistic branches. This theory is the result of the efforts of "Rene Wellek," a prominent theorist in the American school of Comparative Literature. In this research, in addition to the discussion of interaction between two branches of art, the discussion of "adaptation" is also our focus. Although most research on literary adaptation has been in the context of cinema adapting literary narratives, this field has broader implications. What is under scrutiny and examination in this article is the analysis of the function of "poetic words" adaptation in a mythological poetic work and its cinematic representation by a poet-director. Furthermore, we will examine the structure of the poetry and cinema of "Sohrab Sepehri" and "Abbas Kiarostami" in terms of external and internal levels of an artistic work, considering poetic and cinematic elements in both works for comparative analysis. 

The approach adopted in this research is a descriptive-analytical approach. The data from the two works under study have been examined in terms of form and content. It is natural that the interdisciplinary approach employed in this comparative study is grounded in the American school of Comparative Literature.

It is necessary to juxtapose two works under examination to determine in which part of the cinematic film this adaptation and reception of words has manifested.
The language of poetry is a language that every reader or listener immediately perceives its structural and semantic differences with an ordinary language (everyday language) after reading it or listening to it. In other words, readers and listeners easily discern that both in terms of the words that reach to their ears and in terms of the thoughts and perspectives conveyed them differ from other discourses. This concept is clearly articulated by "Aristotle" in his discussion of the essence of poetry. He states, "Poetry is a craft that imitates through words (imitation of nature, mimesis). Now these words may be in prose or in verse." The understanding of words is the most important factor in understanding and interpreting a poetic work, and indeed, in any literary work. Because these words are essentially the products of the poet's mind that signify the intended meaning separately. The more diverse and rich the meanings of these selected words, the more diverse and beautiful the poet's imagination and thoughts.
Today, all theorists agree that cinema, like other arts, has its own language. This means that there are parameters and conventions that help us understand the intended meaning of a film. Some critics view the language of cinema as a collection of images of humans, places, and other subjects that essentially convey the sentences of the text and must be understood and interpreted alongside other sentences to decipher the meaning of the film. It should be noted here that although cinema is understood as a language, comparing it with the language of text (including words, sounds, and sentences, etc.) is a futile endeavor. Therefore, we should speak of "the language of images" for cinema. This visual language has succeeded over the past century in establishing a special place among humans. During this journey, cinema, as the seventh art, has successfully utilized this visual language and enamored humanity with its mode of expression on the Earth. Certainly, what concerns us regarding the "language of cinema" includes aspects such as image processing, scenes (editing), lighting, framing scenes, the relationship between sound and image, and so on. All of these are visual aspects of the "language of cinema." Of course, it is also important to note that other characteristics of this language are related to the narrative and the structural composition of the film.
Furthermore, the content is the inner aspect of any literary work, which can never be one-dimensional. Even if the creator of the work has created it for a single theme, readers and critics can extract different meanings from it, in line with their own perspectives. This behavior is more pronounced in the context of "literary adaptations." In the two works discussed in this research, Kiarostami, as a later creator, has freely adapted under the influence of Sepehri, an earlier creator. This adaptation can be compared with the words and concepts of Sepehri's poetry and reached a unified viewpoint. The concepts of "home," "friend," "passerby," "rider," and "love," which we have compared, form the foundation of both works.
In Sepehri's poetry, the content has a spiritual and elevated aspect that, with its specific symbols, steps into the realm of symbolism to indirectly interact with objects in the service of its abstraction. Kiarostami, on the other hand, creates a poetic, down-to-earth, and realistic theme that can present these two fundamental concepts, "love" and "friendship," in their most elementary form, in the form of two children, to the audience's gaze. Indeed, he has succeeded in this regard. Additionally, the concept that these two great men have left behind regarding the "tree" throughout this poetry and film is another content that attracts the audience. It is not easy to overlook Sepehri's mystical and mythological view of the tree, just as in Kiarostami's cinema, especially in the film "Where is the Friend's Home?"; "In Kiarostami's cinema, the tree evokes meanings of eternity, rejuvenation, and rebirth.

In this research, it becomes evident how Kiarostami, with precision and artistic skill, borrowed from the external and internal layers of Sohrab's poetry, transforming it into a visual and direct work with no ambiguity. This borrowing in the realm of cinematic "space-making" has been so successful that words such as "horizon, sky, light, tree, pause, rider, alley-garden, alley, fear, solitude, fountain, myths, flower branch, and transparency," along with the combination of "fluid intimacy of space," are all parts of Kiarostami's film, serving as cinematic vocabulary.
In the aspect of "form", Kiarostami has developed an internal structure that aligns with Sohrab's poetry. The initial and concluding symmetry of the film and the narrative journey between two essential points in the film are equivalent to the two key interrogative sentences in Sohrab's poetry, which are placed at the beginning and end of the poem. The main essence of the poem, with its narrative quality, flows through this interval, and all scenes and sequences are shaped based on Sohrab's poetic content.
Moreover, in the "narrator" aspect, both artists have utilized a knowledgeable and outward-speaking narrator. This knowledgeable narrator in Sohrab's poetry narrates the affairs and actions of the "rider," while in Kiarostami's film, it transforms into the camera, accompanying the main character (Ahmad) everywhere, ultimately becoming another narrator like music, evoking the mystical space of Sohrab's poetry.
Finally, the discussion revolves around the "theme" and "content." Kiarostami, with his earthly interpretation of Sohrab's spiritual and mystical poetry, interconnects the characters of the "rider" and the "passerby" from Sohrab's poetry through the motivating force of "love" in his film, arriving at the fundamental question of the poem, from his own perspective: "Where is the Friend's Home?" He also transforms elements such as the "tree," which in Sohrab's poetry has a mythological dimension, into a philosophical and humanistic concept.
This comprehensive approach illustrates Kiarostami's masterful adaptation of Sohrab's poetry into a cinematic masterpiece, shedding light on the intricate layers of meaning and artistic choices made in the process.

The concept of love with all its semantic realm and all its capacity to create and evoke emotions has always been present in the poetry and literature of various nations and cultures, especially in Persian literature. Love has permeated our literature in an aura from myths and legends to mystical secrets and everyday affections. This study focused on finding out whether there is a relationship between the concept of love and its multiple functions, in the poems of the contemporary Persian language poet Hossein Monzavi and Nâzım Hikmet, the great Turkish poet. If we find such an affinity, then we can contrast, assess and classify the prominent functions and elements of the concept of love in the works of the two poets. Following the American school of comparative literature, this contrastive study sought to find similar experiences and commonalities of the two poets in facing the reality and concept of love, and then its linguistic, emotional, social, aesthetic, etc. functions in the language and world of their poetry.

First, an overview of the concept of love and its reflection in the poetry of two poets (Hossein Monzavi and Nâzım Hikmet) was presented, and then the elements and functions of the concept of love in their works were compared, analyzed and classified.

A contrastive analysis of different functions of the concept of love in the poetry of Monzavi and Nâzım Hikmet does not seek to prove the historical connection and directive interactions between the two poets’ works but aims to specify the similarities and differences of these functions in the poetry of the two poets. Although chronologically, Monzavi could have been influenced by Nâzım Hikmet, whose works have been translated into Persian and known in Iran for years, upon further contemplation we find the poetic style, genre, world and language of Monzavi have no direct relationship with Nâzım Hikmet’s poetry. Among the contemporary poets of Iran, Ahmad Shamlou, who developed modernism after Nima, by presenting prose poetry and creating important and successful works in this field, was influenced by the language, form and even the content of Nâzım’s poetry. In an interview, Shamlou confirmed this influence: “One of those who strongly influenced my poetry, that is, instantly revolutionized my poetic style, is Nâzım Hikmet (Mojabi, 2009: 751).
The emotional and lyrical function in the poetry of the two poets is one of the most powerful and prominent elements of their poetry, which has been analyzed by referring to examples of their poetic expressions and their roots.
Emotions in Hossein Monzavi’s poetry represent one of the important elements of the artistic geometry of his poetry. Emotional expressions never subside in different stages of his life and the course of his poetry. His poetry is replete with representations of emotions such as joy, sadness, longing, fear, hope, expectations, the pain of separation, and lover’s suffering: “The most important thing that has added to the prominence and impact of Monzavi’s sonnets is the spirit of pure lyricism and the central role of love in his sonnets” (Hosseinkhani, 2005: 106). An analysis of the lived experiences of Monzavi and Nâzım Hikmet about love and being loved reflects a type of love in their works, which is the outcome of a kind of emotional behavior of the poets themselves and their romantic lives. In the book Philosophy of Love, the author refers to two important barriers to love in the contemporary world; One is the promotion of safe love in the sense that in the modern capital-oriented world, the riskiness of love, which is the natural recompense of love, is negated and safe love is promoted and thus love is diminished to the level of a safe relationship, and the other flaw in our time is its denial and suppression.
Highlighting the dangerous nature of love is one of the bold functions of the concept of love in the poetry of Hossein Monzavi and Nâzım Hikmet. This common and continuous function is predicted in the poetry of these poets; Because, in addition to a kind of cultural and collective belief in the reciprocity of suffering and love, Monzavi and Hikmet were victims of partings and heartbreaks, and part of their lived experiences has been formed in pain and suffering caused by love. Thus, they have numerous poems that have focused on this theme. In some of his poems, sometimes directly and sometimes with a symbolic expression, Nâzım Hikmet considers the suffering lover to be the victim of the beloved. In the following poem, he points to the male bee as a symbol of love: “The male bees are trying to reach her. Finally, the strongest of them embraces her. Their connection did not last a second. He shook himself and the female bee separated from him. The male bee fell to the ground with his body torn to pieces”.
The important point is that Hossein Monzavi and Nâzım Hikmet are both the most capable poets of their era in creating the aesthetic functions of poetry. The aesthetics of the poetry of the two poets has a lot of power and attraction, and for this reason, each of them is considered an important and influential poet in their own culture and language. All the themes, concepts and contents of the poetry of the two poets are expressed with aesthetic function and artistic methods focusing on social and protest themes to the deepest human emotions and universal concepts. The concept of love in their poetry is based on their belief in love and their deep personal experiences of love and its representation in various linguistic and formal beauties.  Using harmonized rhetorical techniques and effective image creation including similes and metaphors, Monzavi’s poetry contains new compositions and optimally uses linguistic and musical capacities to turn romantic themes into powerful aesthetic elements of his poetry. That is, the most artistic language behaviors have appeared in his lyrical poems. His dynamic and creative images representing the beauty and heart-wining effects of the beloved are some of his most successful poetic techniques.

The present study showed that the concept of love is one of the main and most comprehensive thematic aspects and layers of meaning in the poetry of Hossein Monzavi and Nâzım Hikmet, with the difference that the world of Monzavi’s poetry is based on the concept of love. However, due to metatextual issues, his lyric poems have also other functions. In contrast, the essence of Nâzım’s poetry is the wisdom of struggle and protest. Moreover, due to his belief in the concept of love and his deep emotional experiences, the concept of love has found a special place in his poetry. Besides, the two poets’ focus on love in their poetry based on their intellectual backgrounds and personal experiences has caused similar and close perceptions of the concept of love and has had similar manifestations in the layers and elements of their poetry.
Furthermore, the expressions of the concept of love in the poetry of these poets have led to multiple elements and functions, including the emotional and lyrical function, the social and protest function, the earthly and individual function, the aesthetic and lyrical function as reflected in the poetry of both poets. However, there are differences in linguistic representation of these themes in their poetry. Overall, the findings from this study indicated that the common functions of the concept of love in the poetry of two poets in two different countries, two languages and two different cultures confirm that a great and comprehensive human concept, such as love, can overcome many linguistic, social, climatic and artistic differences, become a common ground for literary and artistic works, and bring them closer together from different aspects. Thus, with comparative research, we can discover and reveal these common grounds and expand the cultural interactions between different nations through literature.

Among the poets who appeared after the Islamic revolution, Morteza Amiri Esfandaghe has a significant reputation. He often deals with religious and, of course, lyrical topics. Therefore, his poems can be analyzed at different levels. Among the various theories that have examined the category of style, layered stylistics has been used many times in recent decades of research. The main goal and issue in the current research is to examine the intellectual style of Morteza Amiri Esfandaghe's poems in four phonetic, lexical, discourse and rhetorical layers in order to answer the question, which are the most important discourses in the poet's poems?

This research is based on library sources and descriptive-analytical method.

At the phonetic level, Amiri has conveyed part of his desired mental concepts to the audience by using puns and phonetic games. In the lexical layer, the words used in the poems are mostly objective, symbolic and explicit, and their main function is to transform the sensible into the sensible and facilitate the audience's understanding process. The analysis of the discourse layer shows that Amiri has explained his ideological beliefs and has also dealt with romantic aspects. Also, at the rhetorical level, imaginary forms of simile and metaphor are considered the main literary elements.

Examining the four layers of Amiri's poems shows that he has always tried to use the capacities of words to convey religious and ideological concepts as well as romance to his audience.

Ghazal is one of the most common formats in Persian literature and it is rare to find a poet who has written a ghazal. Esmat Bukharai is a poet of the Timurid period and one of the lyricists of this period who wrote beautiful romantic and mystical lyrics. In this article, we have analyzed two hundred sonnets of Esmat Bukharai from the three perspectives of linguistic, literary and intellectual style.

Considering its theoretical nature, the current research has been conducted based on library and electronic studies and in a descriptive-analytical style, and the target society and scope is Diwan Asmat Bukharai by Ahmad Karmi.

Based on the findings of this research, Esmat Bukharai's poetry, compared to other poets of his time, does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent and there are no significant slang terms and interpretations in it. In his sonnets, he has used mystic and Qalandran themes.

The poet has used calm and heavy weights and brook like (Raml and Hazaj) which are suitable for pleasant romantic themes and express the feelings of the poet in sadness. He has shown special attention to rhyme and lines, and his sonnets are almost free of rhyme defects. He has refrained from bringing heavy and abandoned Arabic expressions. Ismat Bukharai has used sensory to sensory and intellectual to sensory similes a lot. Metaphors of innocence are not far from the mind and can be seen in ancient poems. Hints also have a special place in his poems, but innovation is not seen in them and it is repetitive. The main theme of his poems is love and the separation of the beloved, and the burning and burning caused by this love. It also contains lyrical and mystical themes and it is like the predecessors in war and controversy with Zahad the hypocrite.

Islamic Intelligence or according to the western and Arabic media, "Arabic Spring", is the mass of humanity revolutions and risings which is involved Arabic world in 2010. These revolutions and risings which were started on the track of youth self-sacrifice in Tuness; so that everyone had special meesages. These led to be running away the president in Tuness, to be killing Mamar Ghazafee in Lybia, to be falling Hussni Mobarak in Egpt, as well as it is called suppression, communlism and tribal Shiee revolution in Bahrain up to now. Generally, there are two main approaches and views concerning to nature of these revolutions and risings all over the world as: "Islamic Intelligence" and "Arabic Spring". Every one of them have their special partisans that each one refused the opposite approaches. In the same way, we have analysised the poets of 14thfeb movement by directional approach at investigation method of conential qualitive analysis in this study. These investigations show "Islamic Intelligence" theory about 14th Feb movement in Bahrain involves more strightness degree and same to it, "Arabic Spring" theory don't have any more.

Romanticism is a literary movement that developed in Europe in the late 18th century and had a considerable influence on the literature of various countries around the world. This movement emerged in Iran after the coup d'état of 28 Mordad, 1332. Prominent features of this movement in literature include an interest in the past, nature-oriented themes, imagination, and fantasy. However, "Black Romanticism" is slightly different from these features. Among the most striking characteristics of this trend, we find pain and despair, poverty and hardship, sin and hell, thoughts of death, opium, and so on. For this reason, it sometimes happens, when studying literary works from different cultures, that the poems of certain poets bear a striking resemblance to each other. For example, one can mention Charles Baudelaire, a 19th-century French poet, and Nosrat Rahmani, a 20th-century Iranian poet. Reading the poems of Nosrat Rahmani evokes certain verses of Charles Baudelaire, which attests to his influence from this famous French poet. Charles Baudelaire and Nosrat Rahmani are both famous as "poets of the black city" because they were primarily influenced by the social and political conditions prevailing in the society in which they lived. In fact, both poets provided a platform to express the suffering, sadness, and melancholic atmosphere of their time. The purpose of this article is to examine the salient and common features of "Black Romanticism" in the poems of two French and Iranian poets in order to show why these two poets are recognized as the "poets of the Black City".

Literature is the history of the identity of nations and the artistic source of understanding the political, social and cultural conditions of human societies. In all periods, the association of society and literature and the influence of social environment on the production of literary works can be seen. The essential role of literature is well known when its subject matter is examined. The second period of the constitution is the era of flourishing literature and culture in Afghanistan. Literary developments of this period have played a significant role in the transformation and reorientation of contemporary Afghan literature. This period is the period of fundamental change and transformation in the old themes and themes of Persian poetry and the beginning of the introduction of many new ideas into poetry and prose. The purpose of this research is to study the most prominent social themes of the poetry of the second period of the constitution and to identify the poets who have played a significant role in the introduction of new themes