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

A quantity of innovations in Hafez's poems have apparently carried the same features that exist in the poems of a number of other poets. However, since Hafez integrates such characteristics through concentration and decisiveness, strength and richness, and a brief and accumulated volume, their manifestation and glory in his poems is a revelation of more brilliance. It is on this basis that it can be said that the most literary poetic verses and the most meaningful linguistic statements, as well as the most artistic literary, situational, linguistic and even dramatic satires, should be found in Hafez's poems. Hafez's sensitivity to the behavior of political and cultural figures has made him fascinated by situational humor. The attraction of this interest has caused some of the literary satires to be used by him due to the double literary-situational function. Some types of literary humor that are the representation of situational humor include: parables and similes, metaphors and symbols, descriptions and adjectives, exaggeration and hyperbole, and even a part of amphiboly and taxis.

Jalil Safarbeigi’s use of ‘satire’ and ‘argot’, has given quatrains an explicit and attractive appearance. Interweaving satire and argot, coupled with the ambiguity of poetic language, has made Safarbeigi’s quatrains somewhat superior to common language. Simplicity is another advantage of Safarbeigi’s poetry. He uses the most tangible meanings and human experiences in his poetry. When reading his quatrains, the reader understands what is in his mind without much effort. Also, his chosen themes for his poetry make his quatrains prominent and special. These themes include scenes from the real life of the poet, the romance of a tribesman, short but efficient presence of different types of modern people, recreation of the concept of ‘calendar’ and passing of time, and complaints of the poet for having lost all hope to solve the problems. Safarbeigi is also known for breaking the norms, using playful language, and having occasional hints to history, culture and stories. In this research, using an analytical-critical method, we attempt to study the principle of "communication" in Safarbeigi's Rubaiyat to investigate and analyze the two elements of "satire" and "argot", in order to provide a model for analysis of the poetry of those poets who have not been in the center of critical attention so far.

Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. 

The course of satirical writing in Iran is closely related to political history. In the periods when poets and writers have benefited from relative freedom, satirical writing has also grown more. During the Seljuk period, when the government was in an intermediate political position - that is, neither absolute tyranny nor populist government - the course of satirical writing, like the literature of that period, had a completely different and perfected state. In this period, on the one hand, there are many courts and free from tyranny, and on the other hand, at the same time, publicism dominates the kings and people, and education in the society has expanded and has created a variety of styles and voices in the creators of poetry and prose. And in the third level, poets and writers have been abandoned by the government and have benefited greatly from freedom of action. With the progress of literature, numerous satirists have emerged with different and innovative styles and methods, the example of which is not seen in any other period until the constitutional period as a period with complete freedom. The development of humor in this period is more intellectual and content-oriented and has two popular trends such as lampoon and facetiousnes and literary jokes, and special trends such as philosophical, sectarian and mystical satires. Composing odes with a combination of satire, humor and praise, and boldly suspicious poems and humorous narratives of insane intellectuals, has given a different atmosphere to poems and divans in this period.

Humor is a sub-type of literature and a product of protest, and it is a mirror in which the spectators see the face of everyone but themselves. Humor is the artistic image of the society of detractors, and humor in Persian stories has a long history. Akbar Aksir is one of the contemporary satirical poets who, with the help of humor, aims to correct the shortcomings of the contemporary period. The purpose of this research is to investigate the satirical techniques in this poet's poems.

This research was conducted with a descriptive-analytical method and the data was randomly selected from Akbar Aksir's poems. .

The findings showed that some of the main elixir techniques for humor are: the use of rhetorical techniques such as (allegory, metaphor, identification, simile, allusion, the use of colloquial combinations, permission, similar considerations, hint and... ..) .

Using metaphor, contrast, simile, allusion, allusion, simile, etc. , and sometimes the narrative and fictional language has shown the most basis of humor in the linguistic field of Akbar Aksir's poems. Sometimes he brings poetry closer to the language of street and market people and uses native and local words, and sometimes he uses words that are not available to the public, and he has used all these things to create linguistic humor in his poems.

 Man has a dual existence, and just as he needs food to cultivate his physical powers, he must take measures to cultivate his spiritual powers. One of the most important actions that can help to strengthen and refresh the spiritual dimension of a person is recreation. Realizing this need from the distant past, people tried to develop their spiritual powers by engaging in various types of entertainment. This problem is especially observed among ruling families who had more facilities. The Seljuk sultans were also among these families who, understanding this need and following the entertainment tradition that remained for them from the previous period, used different ways to spend their free time. During this period, various recreational activities such as hunting, strolling, traveling the countryside in temperate climates, polo, playing backgammon and chess, shooting, horseback riding, and holding banquets were common. In addition to their primary and immediate function, i.e. leisure, these entertainments also had a political-military function. Most of the time, this type of entertainment function was created unintentionally, and in some cases, the political actors of this era deliberately and with prior knowledge carried out a type of entertainment with the aim of the political-military exploitation of the occasion. This issue caused the courtly classes to become aware of the conspiratorial and political nature of some types of entertainment and in many cases, when they suspected the intentions of their organizers, they refrained from engaging in such entertainments. However, these functions in some cases played a constructive role in the political-military developments of the Seljuk era. And in other cases, they had harmful effects on the political life of the period and became a place for political settlements and conspiracies of opponents against each other. The political-military functions of the pastimes of this period were in some cases related to sultans and in other cases to Seljuk officials and officials such as great emirs and ministers.

The current research was done in a historical way. In this method, by using the method of library research, first by referring to the sources related to the Seljuk period, all the necessary data for writing the research have been collected. In the next step, the aforementioned data were reviewed and analysed, and then the reliable information was written in a descriptive manner in line with the purpose of the research. Also, the authors have tried to contribute to the richness of the article by providing analysis based on witness accounts and remaining documents.                   

 The decentralized structure of the Seljuk government, which was influenced by the political and social traditions of this dynasty, consisted of a central government and various local and tribal dynasties. This feature has turned this period into one of the most turbulent periods in the history of Iran. The political actors of this era, including sultans, local rulers and nobles, court families and great nobles, used every opportunity to settle political accounts with their rivals and opponents. The entertainments of this period were among the important opportunities for the exploitation of different political groups. During the Seljuk era, there were entertainments such as banquets, celebrations, hunting, traveling, sexual entertainment, dance and music, wine parties, history and story-telling, shooting, riding, polo, humor, poetry and intellectual games. Although most of these recreational activities served political-military functions, it was particularly obvious in some activities such as hunting, polo, banquets, poetry and satire. In terms of its essence, this function can be examined in two ways, military and political. Some types of entertainment such as hunting and polo had a military nature, and some, such as banquets, had great potential to turn into events for deceiving, arresting and eliminating political opponents. Thus, the political-military functions of the entertainments of the Seljuk era can be investigated in terms of their influence on the political events of this era in the form of two groups of positive and constructive functions, as well as negative or non-constructive functions. The first positive political-military function was to increase the combat and operational power of the Corps, which was achieved through simulating the battle scene and strengthening the physical strength of the soldiers by doing recreational activities such as hunting and polo. These activities, in addition to increasing the fighting power and agility of the soldiers, were a simulation of the battle scene with the enemies. Also, sometimes the players acted under the guise of such entertainments as hunting, killing enemies or collecting secret military information. The second positive function of these entertainments was to increase the legitimacy of the sultans. The sultans of this dynasty used some types of entertainment of this age as a weapon in order to increase their legitimacy. In this regard, we can mention the skill of hunting strong animals such as lions as a means of propaganda. Maintaining and promoting the status of government officials was another political function of the entertainments of this era. The skill of some government officials in performing entertainment or providing conditions for the entertainment of the sultans further secured their position as agents of the government. The entertainments of this period also played a constructive role in the relations between the central government and the local rulers, and the great Seljuk sultans used the capacities of some entertainments such as poetry recitals to create convergence between themselves and the rulers. Or they used to de-escalate the tension between themselves and their subordinates in the course of friendly meetings while engaging in such entertainments as banquets. The giving of various gifts related to the entertainments of this era, such as special horses and hunting animals, was one of the other capacities of the entertainments of the Seljuk period to create convergence between the central government and its agents and other local rulers. In some cases, a type of entertainment led to the acquittal of the angry and even saved the life of the mentioned person, and thus the entertainments of this era played an important role in the political developments of the Seljuk era in a different way. In this context, we can point out the sugar-coated language of satirists with regard to the sensitive cases of reprimanded or persecuted officials, which would end up saving their lives. Also, the skill of some government officials in performing some types of entertainment such as polo caused their mistakes to be ignored by the sultans, and the poisonous propaganda of their opponents was neutralized. The removal and installation of sultans and some local rulers was the first negative and non-constructive political-military function of the entertainments of the Seljuk period. The extravagance of some sultans and local rulers gave their opponents an excuse to surprise them by using the capacity of some types of entertainment such as banquets and then remove them from their positions. The removal and killing of government officials were the second negative political-military function of the entertainments of this period. In this way, they killed their opponents on the pretext of overdoing it through a surprise attack. Also, by getting the satisfaction of the sultans in providing the means to engage in a hobby, they provided the basis for killing their rivals.                                                                                        

The nature of some types of entertainment in the Seljuk era, along with the tense and complex political atmosphere of the time, caused the traditional entertainments of this period to acquire a political-military nature in addition to their function of invigorating and making people happy. Entertainments of the Seljuk period had seven political-military functions, which are divided into two groups: positive functions and negative functions. The political functions of these entertainments, which had a constructive effect on the course of events in this era, include strengthening the physical and operational strength of the army, promoting the legitimacy of the sultans, maintaining and promoting the status of government officials, acquitting political dissidents, and improving the relations between the Seljuk court and the local rulers. Negative functions also included the removal and installation of sultans and local rulers and the removal and killing of government officials. Although the recreational and invigorating function of the pastimes of this period was fully conscious, most of the political-military functions of the types of pastimes of this era were involuntary and unconscious. This means that the activists of this era did not perform these entertainments with the motivation of fulfilling such functions, but during their occupation, such functions arose involuntarily. Of course, some of the political functions of the pastimes of this era prioritized their recreational function, and even in some cases, the political nature played a more important role than the recreational aspect in engaging in a particular type of recreation. The political-military functions of the entertainments of the Seljuk period included all political spectrums and groups, including sultans, great emirs, ministers, slaves, and other Seljuk appointees and vassals in the states

The aim of this study is to identify the functions of satire and the different reasons and motives for using it in the poetry of Khaqani and Mujir al-Din Baylaqani, as well as to analyze the artistic, rhetorical and literary techniques used in their satiric works. Satire as a subgenre of lyrical poetry has existed in Iranian literature from ancient times and many poets have experienced with writing it. This literary genre has special characteristics. Knowing these characteristics helps us in better understanding the structure and the literary value of the work. Satire exists in the literature of all countries to some extent and is always a controversial issue; however, in the literature of some nations, as a result of the dominance of ethical criticism in the society, satire has not received due attention. Nevertheless, the study of its reasons and factors can be significant from psychological and sociological perspectives (Parsa, 2012).Reciprocating satire is one of the characteristics of the poetry of the 6th century (AH) in Iran. in other words, in the satiric works of this period, the individual who is being satirized can be identified, for example, in the reciprocating satires of Abol-Alaye Ganjavi and Khaqani, or the reciprocating satires of Khaqani and Rashid al-Din Vatvat, or more importantly, the reciprocating satires of Khaqani and Mujir al-Din Baylaqani (Mirsadeqi, 1994: 303).Mujir al-Din Baylaqani was a student of Khaqani who disrespected his teacher; much like Khaqani himself who did not show a respectful attitude toward his teacher, Abol-Ala. Mujir has written satires about Khaqani in the form of odes and quatrains to answer some of the reproaches of his teacher.

The most natural type of satire is behavioral humor that causes surprise and amazement and pleasantry without any literary and linguistic artifice. Hafez, unlike the poets of the Timurid era, who only cared about language games and literary arts in poetry, puts the two elements of form and content in her focus at the same time.For this reason; there are more situational satires in her poems than literary satires. Hafez usually, instead of criticizing the policies of the governments, openly portrays the abnormal behavior of the governments and their supporters, which are often mixed with deception and hypocrisy, in order to create mocking and ridiculous situations from their confrontation and conflict with the logical and conventional human behavior.Or the one that puts hypocritical behaviors against normal transparent behaviors in order to create confrontational and humorous situations. Some types of situational humor in Hafez's poems are: frankness, self-mutilation/pretending debauchery and dissent, inversion, contradiction and opposition, arrogance and demandingness, tragic humor, exaggeration, self-deprecation, justifying reasoning, humor. In this article, we have examined only the first three types.

The fluidity of humor is such that without taking into account the time, place, cultural and linguistic conditions, it cannot be assumed as a single and fixed element. In Persian literature, due to the lack of attention of the writers and poets of the past to compile the basics of humor and disregard for today's interpretation. According to scientific theorizing about humor, the principles and approaches of humor can only be understood and mapped by studying their works. From the oldest Persian literary texts to today, depending on the conditions that were said before, many pieces of literary works can be classified as humor. In this article, Mohtsham's humor has been looked at with an analytical view, and thoughtful results have been obtained from the poetry of this religious poet. The research method in this article is descriptive analysis.

The development of all kinds of literary, linguistic, and fictional satires with intellectual, philosophical, social, and political topics is one of the characteristics of the Seljuk era. In this era, on the one hand, kings and Sufists tended to support the culture of the common people, and on the other hand, poets and writers, due to the growth of literacy in the society, improved their linguistic and literary art and created difficult works. Since the kings and common people had a simple mentality, poets used humor and poetic stories to communicate with them. In the meantime, all kinds of humor and satire, which were common demands of the kings and the masses of the people, as one of the types of fun and entertainment as well as a means of judgment about the era, attracted the attention of poets and kings. The other functions of satire in this period are: a tool to show the displeasure of poets with the inattention of rulers to their art, a tool for job competition between poets and also to show the realities of the times, criticism of mischief and discrimination, and also to take revenge on the creators of anarchy.

Fereydoun Tavallali was among the most significant contemporary artists who established a new genre in Persian satirical writing. Due to such innovations, he maintained a decisive and influential presence in the literary and political circles in Iran for almost a quarter of a century. Despite the passage of time and the obsolescence of the sociopolitical events of that era, Tavallali's satire has maintained its charm for the Persian speaking audience. Seemingly, a crucial reason for the fineness of his satire is his command of text-based and functional linguistics. Regarding functional linguistics, text coherence is considered as a crucial component of literary works. Michael Halliday's theory of lexical coherence and Ruqaiya Hasan's theory of cohesion and cohesive harmony are among the most practical contemporary theories through which one can acknowledge the degree of coherence and magnetism of a work such as Al-Tafasil by Tavallali. This research uses a descriptive-analytical approach to investigate Tavallali's satires, with an emphasis on Halliday and Hassan's theory of lexical coherence. The results show that Tavallali has utilized the elements of lexical cohesion to create the satire in Al-Tafasil in a way that such elements have enhanced the coherence of structure and content of his satire and given more depth to his intended concepts. He has employed word repetition to enhance the coherence of the overall context in a novel way and has also used Saj' (rhymed prose) to create coherence and cohesion among successive sentences. Tavallali’s use of paronomasia, morphological derivations and alliteration has also merged the successive sentences in a solid sequence. Regarding the harmony of words, he has also made an innovative use of congeries, contrasts and synonyms; the use of contrasts is very proportionate and synonyms are used less often. Instead of using -congeries in one sentence, they are used separately in short sentences, which brings about the higher frequency of verbs and conjunctions in the text. Tavallali has thus deepened the internal coherence of the text with an enhancement of musicality and tone and has aligned the language with his political, critical and revolutionary goals.

Satire is a kind of literary discourse or sub-discourse because it uses a specific language for the purpose of criticism, protest, and indulgence. Critical discourse analysis is a trend in the field of discourse analysis in linguistic studies that deals with the relationship between language, power, and ideology in society. One of the famous models in discourse analysis is Van Leeuwen's sociological-semantic model in which the analysis of texts is promoted from a descriptive level to an explanatory and justification level and also the relationship between society, culture, power, ideology, etc. is represented in Satire discourse in poems. Shamloo is seen in the field of social, political, and philosophical issues and analyzes his work from the perspective of a worthy Van Leeuwen's model. From the perspective of Van Leeuwen model of critical discourse analysis, this article follows Satire in Shamloo's poetry to determine how Shamloo portrays social agents and, given the critical function of Satire, how to produce and represent discourses with sociological-semantic components. The components of critical discourse analysis in Van Leeuwen's model are based on two elements of explicitness and obscurity, which themselves have different linguistic subsets. According to the results of this research, Shamloo has used the hidden components in the discourse of Satire in his poems more. He conceals the identities of activists related to power, domination, deceived people and traitors, and at the same time emphasizes the activities of freedom fighters and fighters at the same time as activism and direct reporting. Contradictions in linguistic, emotional, and thought contexts are among the characteristics of Satire discourse in poetry.

‘Argument’ is one of the topics that has attracted the attention of writers despite its age among researchers. What shows the importance of this topic is the persuasive goals that the argument pursues; in this way, the speaker should plan his speech by identifying the horizon of his audience's expectations to convince them, and finally present a speech that fits the audience’s conditions and needs. With the passage of time, this topic has gone beyond rhetoric and controversy and entered many literary, linguistic, and rhetorical topics.The present research is based on the theory of Shayim Birelman and Titikah to investigate the means of argument and how they are used in Khwarizmi’s satirical letter to Ibn Badihi. It seeks to answer the following two research questions:1) What argument tools did Khwarizmi use in this letter and how did it appear?2) How is his success or failure in this pilgrimage process evaluated?He has used all kinds of arguments in his satirical letters. The pseudo-logical arguments which are expressed in conditional, comparative, preferential, and comparative styles have been used the most. In the meantime, he has made the most use of people's personalities and ridiculed their moral flaws. Sometimes he has turned to excess in them, in such a way that in his reprimanding speech, which is similar to praise and praise, he attributes all the flaws and ugly behaviors to his audience.He has also relied on arguments based on the structure of reality, including the argument of the cause, the argument of person, and the argument of authority. Many historical, cultural, mythological, and religious figures have dominated his letters to humiliate his audience through the style of comparison and blame similar to praise. It is worth mentioning that Khwarizmi tries to highlight the difference between the words and actions of his audience by choosing negative or positive mood adjectives and external characteristics. Khwarizmi has used the argument of the person and his actions to achieve this purpose. Of course, the effectiveness of this argument is weak because it changes in different conditions and positions. Among the various arguments used by Khwarizmi, reference to pseudo-logical arguments is more effective compared to other arguments, but Khwarizmi did not rely on them much.He enjoys more freedom in his satirical letters. That is why he has used the arguments created for the structure of reality, especially similes, to show the contradiction of his audience's behavior in speech and action. In describing his faults with nasty descriptions and disgusting images, he has exaggerated to take any chance of reflection and defense from his opponent and not give him a chance to hear his answer. Since his goal is to arouse the emotions and feelings of the audience; therefore, his reasoning is based on excitement and tends to fallacy. Relying on social, cultural, literary values, and commonalities in the Arab society is also another argument used by Khwarizmi.

Shahrashob is one of the types of Persian poetry that has a close connection with folk literature. This type of poetry, which is called by other names such as Shahrangiz, Dehrashob, Falak Ashob, etc., is of two types in Persian literature; In the first type, the poet praises and condemns the people of a city or a class of society in his poem. But in the other type, which has more literary value, the poet describes the craftsmen and defines their profession and industry, and in this way provides the audience with valuable historical information in the field of occupations, customs, beliefs and folk culture. One of the important features of Shahrashob is the use of humor in them.
In riots that deal with the people of a city or a class, the humor is often in the form of satire, but in riots that describe the people who speak and introduce their industry, more streaks of humor are seen. One of the reasons for the prominence of humor in the second type of chaos is the use of a wide range of humor techniques, which can be classified and analyzed based on common theories in humor. Based on the statistical results of this research, the humor techniques used in Chaos City have different frequencies. For example, the techniques of "minimization", "simile to animals", "ridiculous simile" and "sarcasm" have the highest frequency and techniques based on verbal games have the lowest frequency

Satire is a kind of beautiful literary trick that expresses human ugliness and shortcomings in a sarcastic way with a hidden chuckle for social reform. It is very difficult to discuss and review satire and satirical works of Persian language due to the lack of sources and information, because this important literary style is less studied independently and is more mixed with humor and especially ridicule. Satire is a special way of expressing poetry and prose, which is very effective and attractive by means of which the most important topics are expressed with the most delicate and at the same time the sharpest views and the most winning words. Satire plays an important role in the awareness and awakening of the public because it often expresses the obvious and bitter truths in a simple language that is close to people's understanding and replaces an opinion exactly in their minds. This research, which was carried out with a descriptive analytical method and using library sources, dealt with the role of satire in the Masnavi and the description of its humorous anecdotes, and it is clear that satire is used abundantly in Masnavi and Rumi used these anecdotes to express moral, philosophical, mystical, religious, etc. views and points

In this research, different aspects of humor and contradictions and their types, in all the works of one of the most famous contradictors of Persian literature; That is, according to Atameh Shirazi, it was thoroughly studied by descriptive-analytical method and library resources, and for this purpose, from the theories of critics; Like Bakhtin, Joseph Shabili, Heather Dobrev, Arthur Pollard, were used. The findings show that legitimate contradictions are not merely comparative; Rather, they have various functions; Criticism of the poetic themes and ancient literary style of their time, by de-familiarization and violation of their purpose and protesting the economic and social situation of the people with this exaggerated trick that the theme of all past forms, from epic to lyric about food and food The generalities of his divan are a mixture of all kinds of humor and contradictions; Like Manipusi satire, allegory, satirical comedy, guaranteed contradiction, ridiculous epic, with irony and carnival laughter.

Satire is one of the literary genres used in poetry and prose. The difference between satire and low humour is that the purpose of the latter is simply jest and amusement, but behind the laughter created by satire, there is bitterness and sadness, which are caused by the problems of society. Although satire makes the audience laugh at first, it seeks to subtly expose individual and social flaws, so that the people or the social classes concerned try to overcome their defects. Satire has been popular in Persian literature for a long time and this genre is also used by many people in the contemporary period. Among those who were able to use this method in their articles in the contemporary period was Parviz Natel Khanlari. Khanlari was a poet, writer, translator, researcher, university professor, founder of Sokhan magazine, founder and director of Iran's Culture Foundation, and Iran's Minister of Culture, all of which connected him to society in some way. One of the ways he chose to reform society was to use satire in his articles. In this article, we have shown that Khanlari's satire can be divided into two categories: political and social. Each of these categories has its general and specific audiences. In another classification, we have examined Khanlari's satire in two formats: in the form of "sentence" and in the form of "word". We have also demonstrated that another method by which Khanlari applies satire is using "humorous allegories".

The context and purpose of the stories written for the age group of children and adolescents, in addition to being attractive and engaging, should also contain social, instructive and educational content. Humorous literature is a good bed to help the child and adolescent audience in intellectual development while paying attention to the entertaining aspects of the story.

Leading research based on theoretical and documentary studies has been done by library method and content analysis method. The society studied in this article is five stories by contemporary satirical writers in the field of children and adolescent literature.

Some children and adolescent comedians focus only on the humorous and entertaining aspects of a work, while others focus on discovering the identity, meaning of life, and social issues in addition to the entertaining aspects of the story.

Among the authors studied, Marzooqi and Akbarpour have paid more attention to the entertainment and humor aspects of their stories, and Shafiee, Eboud, and Hashemi have significantly and significantly included in the content of their stories issues related to moral aspects, social problems, and children's intellectual issues and concerns. And adolescents.

Humor is a subtype of literature and a product of protest, and one of the most important arenas for the emergence and effect of humor in the contemporary period has been the press. According to satirists, the most important function of press humor is its critical and journalistic nature, and due to this nature, press humor is directly tied to the ruling institutions. In this research, three prominent publications Nasim Shomal, Towfiq, and Gol Agha from the three periods of constitutionalism, Pahlavi, and Islamic Revolution were selected as examples and analyzed from a literary point of view.

The method of data collection in this research is library and based on note-taking, and data analysis is done descriptively. On this basis, at the beginning, the important books in the field of satire in Iran were studied and noted, and then the relevant press was studied and the data was analyzed based on the extraction of literary arrays and rhetorical techniques.

Political and economic criticisms are the main basis of humor in this press. Daily news in various fields, precision in the process of social life, communication between people in the society are among the most important sources of finding topics for the satirists of these three publications.

Irony and sarcasm, irony and allegory, simile, metaphor and contrast are the most used rhetorical techniques in these texts. The language in these publications is simple, and Nasim Shomal has a more formal and literate language due to its earlier time and the poetic aspect of Seyyed Ashrafuddin.

This study tries to deal with the effect of political, social, and ideological currents, and power relations on the discourse of selected satirists' works, and the degree of their words' explicitness and implicitness. These satirical works were written between 1953-1978. Moreover, this study aims to analyze the effect of various events and currents of this period such as coups, the spread of the discourse of absolute Pahlavi modernism, the expansion of political restrictions on Satire's discourse, and the words' explicitness and implicitness of mentioned satirists. Using components of Van Leeuwen's model such as categorization, impersonalization, nomination, etc., this article examines the methods of representing actors in satirical works and explains and analyzes their relationship to the prevailing powers and ideologies. The research results show that the implication of categorization has the highest frequency in all works; as satirists represent most actors based on their occupation, social status, gender, etc. By applying the exclusion component, they avoid criticizing the institution of the monarchy and clericalism. This can be justified by factors such as the prevalence of the discourse of absolute Pahlavi modernism, Shiite resistance, lack of political development, fear of the danger of excommunication of clericalism, and the precautionary thinking of these satirists. Furthermore, the explicitness and application of the nomination component are often reflected in the field of cultural, literary, and social satire.