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

In Iranian carpet weaving, one of the most attractive and popular developments in design style is the beginning of the illustration movement in the thirteenth century (AH). In particular, the portraits of historical and mythical kings as an ideal and archaic subject with cryptic and symbolic themes are given much attention in this period. In the meantime, the myth of Hoshangshah has been woven in a diverse geographical area with a special and fixed composition. Therefore, this research is directed to seek meaning of the texts and find the signs and social messages hidden in the carpets of Hoshangshahi to answer the question of what concepts the elements of this carpet indicate.


In this regard, the present article, by examining and analyzing carpet actors in the form of image semiotics system and establishing intertextual relations, has tried to discover and analyze hypertexts and two-way communication between carpet and society in a descriptive-analytical manner. The processes of cognition and communication and the search for signifier and modular relations between the actors in the heart of Qajar society and the carpet system have been done and hypertextual actions and dominant thinking in the construction of this carpet have been realized.
It should be noted that the data of this research was collected in a documentary method, using Nonreactive Measures like online data, pictures, historical backgrounds and methods like that.
In this research, two samples of carpets have been selected from image types, the first sample is related to the rural style and the texture of Nahavand, Hamedan, and the second sample is related to the urban style and the texture of Kerman. The constituent elements of these two carpets are placed on the two levels of the border and the background of the carpet, having visual and verbal symptoms. The reason for presenting two examples of two different styles in this research is that the design and patterns in the human and social geography of handwoven carpets are not always subjected to an exclusive system and sometimes some kind of interaction takes place in order to express common concerns among the weaving communities, which creates commonalities in thematization, but each region cultivates and represents the themes according to its style and visual language.


Cultures and cultural manifestations are made of signs, each of which is a manifestation of something other than itself, and the person living in the culture gives meaning to these signs (Roze as mentioned by Miek Ball, 2014, p. 144); therefore, each sign has a meaning beyond what comes from words (Adams, 2009, p.1), and a picture is often more eloquent and explicit than thousands of words. Hence, with the formation of the illustration movement in the Qajar era, abstract patterns of carpets were removed from their biological symbols and became a kind of the second-order semiotic system (mythological level) and until the middle of the fourteenth century (Tanavoli, 1989, p. 7), artists produced these broader systems of meaning in the form of images. In this regard, the most frequent design of the theme in the field of Qajar carpets has been the weaving of carpets with the theme of mythological and historical kings and the iconography of the kings of their time in the form of myths; therefore, the influence that the myths and stories of the Shahnama have had on the various arts of Iran, especially the carpet weaving of this era, in their thousands of years of existence, is undeniable (Tanavoli, 1989, p. 21).
In this regard, the discovery of structures and relationships between society with visual and verbal symptoms in the system of Qajar carpets with the theme of Hoshangshah is important and in some positions and themes it is ambiguous, so the purpose of this study is seeking meaning of the texts and social messages hidden in the carpets of Hoshangshahi in order to answer this main question: what concepts of the elements of this carpet are influenced by the Qajar culture and society? in addition to the main question, other questions can be raised, the answers to which will provide the goals of this research as What was the artist's goal in creating Hoshangshahi carpets? And how has this carpet as a medium played its social role during the Qajar era? Therefore, there is a need to discover some of these ambiguities, among the necessities of conducting this research; especially since these types of carpets were used in the Qajar period with a special composition for political purposes and to gain the legitimacy and popularity of the Qajar kings among the general and special masses of people through the name and deeds of Hoshangshah. Therefore, in the analysis of Hoshangshahi rugs, one is faced with a wide range of meanings and concepts, which researchers have addressed in various fields and have obtained valuable results.


The findings of this study indicate that each of these signs, mysteries or myths, is a diagram of great and wonderful phenomena. Thus, the desire to create pictorial carpets of mythical kings during the Qajar period somehow paved the way for the use of myth as a linguistic-visual tool in art that is a powerful and well-known platform in the transmission and re-creation of ideas, culture and civilization and even the aspirations of the artist in the society are provided and by learning this movement, the formation and rehabilitation of the process of recognizing and receiving ideal and active ideologies in the heart of Qajar society has been well facilitated, the actions and the socio-political hegemony has led to the formation of discourse and people-centered systems in this art, and the designer through ideological-mythological grammar by providing the components of the needs of his society (which is the symbolism of the constitutional movement in the form of discourse legitimacy), has translated the present ideology of society according to the grammatical language of carpets and brought it back to the society.
On the other hand, an unrestricted discourse, under the control of the carpet theological level (inscription written by Hoshangshah), is easily formed and has provided a platform for the intellectualism, idealism and ideology of its society. Therefore, Hoshangshahi rugs with this structure and meaning have been made from the political events of their society. On the other hand, on a visual level, by imagining the throne of fog with the elements of the throne of historical and mythical kings, and especially placing fire in the crown of the throne, he has narrated the absence of evils and evil communities on the kingdom of Iran and through this a kind of pride and the fervor of nationalism, praise of the Iranian identity and idealism is seen in the characterization and planning of the rugs of the Hoshangshahi type, which is considered unique and pristine in its own kind.

The capacities of the novel are so vast and varied that they can be used to arrive at an accurate and almost complete understanding of society and its individuals. Also, because the novel does not have a life apart from human life, it can be considered a source of human behavior based on which the interests of individuals in society can be achieved. So it is not far from the truth to say that the novel has the most potential to represent the life of contemporary man. In the present article, based on selected novels from those of the Islamic Revolution and eight years of Holy Defense, the concepts of idealistic and idealistic women in the eyes of male and female writers have been studied. Based on the research results, it has been determined that gender is the most important factor in the definition of an idealistic and idealistic woman. Female writers consider a woman to be an idealist who has escaped from patriarchy and gained independence, and male writers also consider a woman to have these characteristics who have excelled in the home and family environment.

The contexts and factors that create contemporary fiction in Arabic and Persian literature are close to each other; In particular, in both languages, the story is derived from Western storytelling patterns, meaning that the similarities have led many scholars to believe that the style of writing of one of the two is influenced by the other, although it does not have an effect. Can be denied. (Mirsadeghi, 1376: 180) Short story appeared in the eighties of the nineteenth century in the West and entered these lands simultaneously with the political and social developments of the first half of the contemporary century in Iran and the Arab countries. (Rasouli, 1391: 65) and with the initiative of great intellectuals such as Naeema in Lebanon and Jamalzadeh in Iran, it became one of the most important types of literature in these countries. At this time, Naeema established a new way in the literature of that time by collecting her works entitled "Kan-Makan". He always based his stories on social problems and spoke about the sufferings of the people of his country. He was born in 1889 in Baskenta, Lebanon, to a Christian and Arab family. (Al-Khoury, 1991: 23)He spent 20 years of his life in the United States and is one of the emigrants. Although Qajar Iran was one of the most tense periods in Iranian history; But it had a profound effect on Persian literature. From then on, Iranian writers set out to invent a new style to awaken and make people aware of the current situation, and to lead all classes towards reconciliation with literature by simplifying and avoiding complex and complex prose. Meanwhile, one of the most prominent cultural figures in Iran is Jamalzadeh, who has made great efforts to revive literature. He is one of the great writers and translators who in the literary history of Iran has always been mentioned as the father of short stories in Persian and the initiator of the realist style in literature. In this article, an attempt has been made to make a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

In this article, an analytical-comparative method has been done between the two story series "Kanomakan" and "yekibud yeki nabud" by Jamalzadeh. The content study of this type of literature can be a new approach in the field of social studies. In this method, a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh, was carried out. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

There is no doubt that the Arabs have been familiar with the story for a long time. The existence of the authorities and the stories of Alf Layla and Layla is a proof of that. Ancient Arab fiction did not have a specific style and style in the modern way, and they took its style, thought and subject from the West. In this period, we are witnessing the flourishing of short stories, especially in Lebanon. Most of the writers of short stories in Lebanon, such as Naeema, Gibran Khalil Gibran, Tawfiq, were emigrants, and had studied the literature of other countries. Short story as a form of fiction was formed in Iran by people like Jamalzadeh and continued its evolution along with literary currents; The first collection of short stories to be published in book form; Jamalzadeh's "yeki bud yeki nabud" collection was in 1300 AD.This collection had differences in characterization, narrative methods and language with its previous examples, and Jamalzadeh's ability is more reflected in the short story.He admits that he used the story as a means of preserving proverbs and sentences. (Mir Abedini, 1387:80)The Kanomakan Collection is a book of prose that contains six short stories written by Naeema in Mahjar. The stories of this book are: "Sat Al-Koko, sonateha aljadida, Al-Aqr, Al-zakhira, Saadah Al-Bayk and Shurti" The heroes of his stories in "Kan Makan" series are more than the capitalist class -Writing is at a high level. In the four stories of "Kan Makan", Naeema has used methods for narrating the stories that take them out of the state of monotony and mere definition, and this is one of the positive features of this book. These stories are:"sonateha aljadida, Al-Aqr, Al-Zakhira and Saada Al-Bayk." (See: Al-Sayyid, 1974: 240-242)Jamalzadeh is a contemporary Iranian writer and translator. He is considered the father of Persian short stories and the originator of the style of realism in literature. He published the first collection of Iranian short stories entitled "One was not a Buddhist" in 1300 in Berlin. His story has social and political themes. In addition to revolutionizing Persian prose, he consciously used the technique of European storytelling. He recommends the whole style of simplification to Iranian writers, and perhaps for this reason, the theme of the first story of "Farsi Shekar ast" is about simplification and simplification. Jamalzadeh's collection "yeki bud yeki nabud" is a collection consisting of an introduction, six short stories and a collection of slang Persian words, which was published in 1300. Its six stories are: "Farsi shekar ast, Rajol siasi, Dusti khale kherse,Darde dele Mullah Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah". This book is considered to be the beginning of Persian realist literature and Iranian short stories and the starting point of change in Iranian fiction. "Jamalzadeh is the first Iranian writer to use the European storytelling industry with conscious intent." (Mir Abedini, 1387: 83)In comparing the authors of the two story series "Kanomakan" and "yeki bud yeki nabud", it should be said that both authors can be considered as migrant writers; Naima has experienced both Arab and American environments and Jamalzadeh has experienced both Iranian and American environments. They mapped the culture, literature and contemporary thought of their country. Jamalzadeh's role in contemporary Iranian culture, literature and thought is more of a historical role. Through his efforts, the modern experiences of Iranians gradually took shape. It should be emphasized that although Jamalzadeh pays more attention to "theme" and "subject" than "form" and "structure", but his innovations in the narrative forms before him are also remarkable. It is worth considering. (Moshtaghmehr, 1387:138)The language used by Naeema and Jamalzadeh in their stories is on the border of "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In all her stories, Naima has tried to express the problems, social, religious, and cultural issues of the people in simple language. The language of Jamalzadeh's stories is always eloquent, descriptive, fluent and conversational. In analyzing the titles of the two story series from the point of view of form, it should be said that the main title of Naeimeh series "Kanomakan" and the title of the series "One was and one was not" are Jamalzadeh in sentence form. The formal title "Kanomakan" clearly indicates the narrative type of the work, although it puts the reader in anticipation of an old story. The titles in the collection of Naima "sonateha aljadida, Al-Aqr, Saadat Al-Bayk and Shorty" and the titles "Dusti khale kherse, Darde dele Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah" are among the formal titles that determine the type of story in the collection.In analyzing the two titles from the content point of view, it should be said that the titles of Naimeh and Jamalzadeh are not in conflict with each other; Rather, they affirm each other, both of which, as belonging to tradition, are reminiscent of earlier traditional anecdotes and ancient literature; Especially in Jamalzadeh's collection, where the title "anecdote" at the beginning of all six stories in this collection is reminiscent of the traditional structure of stories and anecdotes of ancient fiction.In the title of these two collections, "Kanomakan" and "One was not Buddhist", there is a lexical contrast (Kan and Makan) and (was and was not), and between the titles of the two collections, there is a lexical inconsistency; In this way, "where and when" and "yeki bud yeki nabud" cause a contradiction of words, and a contradiction in the composition or sentence leads to inconsistency between the cohesive group in the sentence and creates a linguistic joke. (Fotouhi, 1390: 383)One of the tricks that Naimeh and Jamalzadeh use to attract the reader in their collection is ambiguity and suspension, which creates ambiguity in the reader's mind and forces him to read the story to the end. And in the text of the stories of both collections, there are signs of the tendency to die. It brings and this is one of the positive features of these two sets. In terms of commonalities and differences between the two works, it should be noted that both stories are very similar in form and appearance; In a way, both series have six short stories that are arranged in sequence without interrupting or separating the stories. Both writers wrote abroad and are somewhat cultured in Western culture, but their collection of stories mirrors the whole situation and culture of their country and has a completely Eastern spirit. The perspective of both Naimeh and Jamalzadeh is often "I am a narrator" in which the narrator is one of the characters in the story and from his own language (first person inside) or one of the sub-characters (first person outside) Narrates.The collection"yeki bud yeki nabud" has a common feature, and that feature is introducing the hero as a "brigade" and not giving the reader a chance to know him through his actions. (Kamshad, 1384:164) In both Naimeh and Jamalzadeh collections, the hidden and latent concept of dialectics is "was and was not" and the transition from "bud" to "nabud" is a dialectical change that is manifested in the form of contradiction, controversy, conflict and change. The language used by Naeema and Jamalzadeh in their stories is on the border between "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In the difference between the stories of Naeema and Jamalzadeh, it should be said that the dominant element in the titles of Naeema's stories, in addition to slang and oral language and its story and elements, is society, people and social, religious and cultural problems. (Mahdavi Mehr, 1397: 15) While the dominant element in the titles of Jamalzadeh's story is the emphasis on slang and oral language and the story and its elements. (See: Jamalzadeh, 2005:28-13)Naima used the element of religion in her collection and in the story (Al-Aqr) she did not refer to the Holy Spirit and the Holy Mary and religious beliefs, and the use of proverbs and reflections of beliefs is one of the features of her stories. , 1074: 352); Meanwhile, Jamalzadeh's collection is devoid of religious and ideological symbols. The protagonist in Naeema's "Kanomakan" series is more than the affluent class, which is influenced by Russian stories. Meanwhile, the protagonist of the Jamalzadeh series is a "brigade". (Kamshad, 1384: 164) In Naeema's stories, woman has a prominent and colorful role, while in Jamalzadeh's stories, women always play a small role in society, and the reason is the closed society of that time, which caused , To confine the people to the customs and traditions.In the "Kanomakan" collection, Naeema is a little humorous and has almost no place, but there are different types of humor in Jamalzadeh's collection, and perhaps the reason for this is the characteristics of Jamalzadeh's collection that do not have the necessary maturity, and yet the first It is the way of storytelling. The characterization of Naeema is more complex than Jamalzadeh in "Kanomakan" series. Naeema's characterization is such that contradictions become apparent over time. Like what is said in the style of speech in the "Kanomakan" collection, Naeema is more realistic and realism has a higher frequency, and in Jamalzadeh's collection, the element of imagination is more frequent.

The following two sets of results are obtained from analytical-comparative comparison: These two stories are among the first examples of new short stories in Iran and Lebanon, and the authors are both the father of short stories and the giver of a revival of Arabic and Persian prose. In the stories of Naeema and Jamalzadeh, there is no such complex knot that throwing or gradually opening it gives the story ups and downs and guides the reader step by step with the story. The most characteristic features of Naeema's short stories are the abundance of social themes and the expression of pains such as poverty and misery, class distance, and betrayal in the family center. In all his stories, he has tried to reflect the problems of the people, social, religious, religious and cultural issues and to deal with the lives of different sections of society.Attention to simplification, expression of pure truths of the time, use of slang terms and interpretations, presence of contradictions and double confrontations in Jamalzadeh's collection, make the story comprehensible to the public and bring it to the traditional structure of fairy tales. Ancient resembles. Jamalzadeh's stories are more like memoirs (and in the story: "Dusti Khaleh Kherseh, Bile Dig and Beleg chondar" to the travelogue). Jamalzadeh has paid attention to the element of politics in the story and it can be seen in the story of "Al rajol siasi".By choosing the concise titles "Kanomakan" and "yeki bud yeki nabud", Naeema and Jamalzadeh paid attention to the musical components and consciously used the European storytelling technique. The titles of Jamalzadeh collection, from the point of view of form, have more variety and dynamism than Naimeh collection, and it has different types of titles such as phrase, combination, and phrase. In terms of content, the dominant element in the titles of Jamalzadeh's stories is the emphasis on language, story and its elements, while the dominant element in Naima's story is, in addition, the content, society, people and religion. Jamalzadeh is more important than "structure" and "form" for "subject" and "theme", but his innovations in narrative forms are also noteworthy.The protagonists of Naima's stories in the "Kan Makan" series are more than the affluent class, and most of the stories in this book are at a high level in terms of observing the principles of storytelling. Jamalzadeh admits that he was in one and he was not in one, that he has used the format of the story as a means to preserve the proverbs, rulings and culture of populism.

Attention to the Islamic Revolution in contemporary Algerian literature indicates the interest of the poets of this land in matters of destiny such as independence, human dignity and the spirit of martyrdom and self-sacrifice; accordingly, there are many similarities between the Islamic Revolution of Iran and the Algerian Revolution. This study, relying on the descriptive-analytical method examines the image of the Islamic Revolution and its Islamic and revolutionary components in the poetry of Mostafa Mohammad Ghamari - revolutionary poet and Algerian Commitment. This revolutionary poet who has dedicated one of his poetic collections to the Islamic Revolution of Iran, entitled Khazra Tashregh Man Tehran; he considers the existence of the religious authority as the most important features of the Islamic Revolution, that is inspired by the reformist ideas of the Ashura uprising, the martyrdom. The present study finally came to the conclusion that some factors have sought the attention of this committed poet to the Islamic Revolution and the praise of a unique figure such as Imam Khomeini in his poetry, the most important of which are the poet's religious education, revolutionary spirit, and the martyrdom wish of Imam Khomeini (ra) is anti-colonialism and it needs to establish an Islamic and divine government based on the teachings of Islam and the teachings of the Qur'an. One of the most important features of the Islamic Revolution in Ghamari poetry is the deep connection with the divine teachings, the existence of a culture of stability and independence, the support of oppressed nations and the creation of unity and solidarity among Islamic nations.

Ecocriticism in literature concentrates on literature and the environment or the Nature; it means it focuses on literature and the physical environment. Such study calls for collaboration between natural scientists, writers, literary critics, anthropologists, historians, and other disciplines. Poets and authors have always been under the influences of the world around and the environment so that nature changed to be a source of inspiration to them.

Ecocriticism and Environmental literary studies were first introduced to the world of literature in 1970 in world’s most important assembly “The Western Literature Association” (WLA). After the Industrial revolution, human being transformed his connection with nature and started to experience a new season in his life. The earlier connection was based on a mutual relationship, but the new one was entirely shifted to something far from a mutual link. In other words, after the Industrial revolution, human being occupied an upper position and nature suffered from a banal one. Incidentally, the ecocritics enjoy various methods of analysis in their studies; some believe that nature is not more than a humanized structure which some poets like William Wordsworth started to form in their works. Many of these critics put nature as a counterpart of culture, or identify nature as instinct. Instinct is the main inner motive which transfers its effects to other creatures. It is identified with nature or the animal’s desire to do profitable deeds.

The present study attempts to reveal ecocritical works and thoughts of two most significant Persian and American poets/authors, Nimā Yushij (1897-1960) and Ralph Waldo Emerson (1803-1882). To do this, the poetry and the letters of Nimā together with Emerson’s book titled Nature (1836) have been selected. It is indicated how Nimā and Emerson’s idealism is closely related to nature, and how it is based on Human-God-Nature-Justice circle. It is shown that nature is the major source of this circle. Hence, the present study, by the use of American School of Comparative studies, while applying a library-analytical approach, tries to compare and contrast the major thoughts of Nimā Yushij and Ralph Waldo Emerson due to their literary environmental writings. Furthermore, it is emphasized that these two poets belong to different languages and literatures; however, as far as the American School is based on Eclecticism in comparative studies, it is hoped that the major nature-oriented themes and ideas of these poets might be revealed in this essay. It should be also considered that the American School of comparative studies does not concentrate only on the effects or influences in literary studies; to such school, literary movements, genres and literary types, and the topics and themes of world literature are the fundamental spots of studies.

The study discloses how Emerson’s outlook to nature is more philosophical than Nimā’s. When he talks about nature his idealistic motives start to appear. Both poets insist on the unity of human being and nature by unifying human history and natural history. The beauty of nature is another major theme of their poetry; both look at nature as the source of beauty and its pleasures. Emerson believes that the ultimate end of the cosmos is a desire to the beauty. Why human being is so much interested in the beauty is beyond the thoughts and logics of man. Furthermore, Nimā’s ecocritical tendencies are closely related to coexistence of man and nature, and the poet’s thoughts are not separated from the beauties of nature and its inspiration. Nature, environment, and the world around are at the core of both Nimā and Emerson’s thoughts and writings. To live naturally and to get involved with nature are their ideal way of life. To them, solitude and primitivism are man’s solution to release him/her from the chains of society. Both of them complain about human being’s distance from nature; they believe that solitude is mankind’s opportunity to conform his/her soul to nature.

Social stories in 1980s have been the most frequent story structure in the field of children’s  literature.’’ Social realistic stories’’ and ‘’ social idealistic stories’’ reflect the social difficulties and ideals of Iran during 1980s. The ‘’social realistic stories’’ have scored 181 items (59. 54%) from the whole reviewed stories. The most important subjects of realistic stories include:’’ family relationships with 93, ‘’ economic-cultural issues’’ with 46and ‘’ war and Islamic revolution’’ with 42 ones ‘’. ‘’ The social idealistic stories’’ have devoted 123 items (40.46%) of the whole reviewed stories. These stories mainly consider subjects such as:’’ standing against cruelty’’ with 86 and ‘’unity and sympathy’’ with 37 ones. Studies indicated that writers of the social stories of the 1980s. Studies indicate that the writers of social stories in 1980s mostly considered the age group of 9 to 11 as much as 94 items (30.92%) and the least group was the age group of 4 to 6 with 14 items (4.60%). The age group of 9 to 11 a 12-17 with 69 items (22.69%), the age group of 7-8 an 9 to 11 with 56 items (18.54%), the age group of 4 to 6 and 7-8 with 39 items (12.82%) and the age group of 7-8 with 32 items (10.52) were have been counted as the most common groups of these stories.

Identity and vogue are in constant relationship in a discursive regime and as a process pursue the flow of semiosis. Vogue tries to reach an idealized presence with the bond that establishes on the one hand between what it has, but which has become the habit and what the other has , which is not the habit yet and can be considered the result of the reconciliation with itself. Thus, the discourse of the vogue takes the path in parallel with the reconstruction of identity where we encounter with an idealized body, since in this respect the vogue portrays an image of the other. This similarity with the other creates a distance with the body-habit. The vogue moves in a contradiction with two negative and positive poles. This contradiction guarantees in its turn the rationality of the vogue. The main objective of semiotic analysis of vogue is to show how the vogue passes over the boundary of structures and habits and enters the discourse of chaos –idealism in its own system of social order through a processual and rational manner.

Literature sociology as a branch of social science tries to discover the social nature of literary work. Goldman in his developmental structuralism linked the structure of literary works to social groups in specific time. He claimed that literature reflects the possible awareness of background (Ideal awareness) or unreal part of social awareness of social group. Arabic and Persian contemporary poems also discuss these general human beings‘ issues and the trend toward group and individual values which experience an inseparable modernity. Amal Donghol from Egypt and Esmaeil Shahroudi from Iran are among those poets that who by making ideal city, challenged the contrast between ideal awareness and existing reality in political and social background of Iran and Egypt. One of the common methods of these two poets for development of their reformist goals and alignment of people with their intended ideals is hero-making. The most important issues discussed in this paper along with investigating Goldman‘s theory and the effect of social and political infrastructure of Iran and Egypt include: the sameness of Donghol and Shahroudi in ideal awareness, ideal contrast, uncertainty in idealism.The result showed that considerable part of their idealism refers to patriotic values. The existing contrast that shows the difference in their emotional and thoughtful streamline and their uncertainty in idealism is the result of their disappointment in achieving their ideal awareness.

Jalal Al-e Ahmad-known writers، known as the Persian style in contemporary fiction، especially short stories. his monograph on travel writing and، as a field of research and has shown his skills translate. This paper is intended to analyze fiction glory، and without prejudice to the ideal world، or utopia and show how open-minded a veteran writer with a day full of ups and downs، and traces the source of the most influential writer، and the construction of clairvoyance، to protest against. In the end it becomes clear that how well he was able adherence to their beliefs، to achieve the aspirations، struggles، and certainly in this respect، writing is the best way he knew. tudy the life of Jalal Ahmad and his works، most notably in the final years، which suggests that he idealism writer، but nevertheless، behind idealism glory، to order the circumstances، effort and consultative in search of the ideal city ideal، there is more to this chapter examines

This research is a content analysis study which investigates the view of Nezami about individual, social and ideal identity in Panj Ganj. Nezami is an idealist thinker who uses poetry for releasing mankind from dystopia and reaching utopia. As a mirror reflecting his character, Nezami in Panj Ganj pays attention to different aspects of human essence beside the rapture of love and abnegation. In the image of his tales’ protagonists, he creates the identity of an ideal Man and refuses to represent realistically the identity characteristics of his protagonists and, instead, creates a number of typical characters whose process of reaching Perfection is completed at each moment through ideal foregrounding. Indeed, each of his protagonists offers a new model for human beings in order that they learn a lesson and reach Perfection via the process of self-promotion. Besides representing the individual identity of human being, he also represents his social and ideal (divine) identity. In Panj Ganj, the Perfect Man has sometimes religious identity, is a sage in some tales and in other cases he is a lover whose earthly love becomes more transcendental so that bestows him the mystical identity.

Romanticism is a literarily movement which in last years of 18 the century, derived from England and changed to literally school in 19 century reaching most of the European countries, western Europe and even Russia. This school has deeply in flounced on different aspects of literature in different parts of the world. Romanticism school pierced into Iranian literature, when Iranian poets and writers got introduced with western literature. “mirzade-ye-eshgi” is one of those poets who we can cleanly see the effects of romanticism school in his poems, since the value of this literarily products owes to romanticism school elements. Revolutionary, creativity, Retiring idealism flash backs to traditional literarily forms national emotions nostalgia creating atmospheres full of sadness and showing sympathy toward the poor, are ports of romanticism school in fluencies on his poems.

Seyyed Hasan Hoseini is one of the so mighty contemporary poets who has allotted the major part of his poems to describing the manly braveries of this land s descendants in resistance field. The prevailing principles of romantism dominate over most of his poem. however he has elevated the romantic contents and added such themes that all serve to depict blood dignity and the eternal struggle of right and wrong thanks to his religous beliefs revolutionary ideas and social commitments. He has a social - critical romantism. He criticizes many aspects of modern life and believes that love humanity purity simplicity and truth of life have been lost in this era. He feels sorry for us who have deviated from following the martyrs path and preserving their values.

The assessment of literary works has various advantages, two types of which are studied here. The first result of the analysis of literary works is to achieve social-historical perceptions. For instance, the assessment of the situation of women in Iranian and European works has revealed less effective roles for women in Iranian history and works. In European works, women play a more impressive role and have idealistic acts, but in Iranian works, women play a less important role and idealism is revealed in men's deeds.Another global advantage of assessing literary works is to get familiar with story-telling styles in Iranian and non-Iranian works. Some instances of the similarity between the surrealistic style and ancient Iranian works are mentioned. In addition to the general styles, like surrealism, stream of consciousness and magic realism, there are some similarities in story-telling elements observed in ancient Iranian works. Some of such similarities are studied in the final section.