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Nikobakht.N. , PH.D.
Raminnia.M. 
 
Abstract:
 
This article defines and clarifies the concepts and principles of Magical Realism based on the literature critics and opinion makers. Then Ahle Ghargh fiction is analyzed with due regard to magical realism features and specifications.
 
Magical realism is a modern style in contemporary story writing in which the factors of reality and imagine are combined. The result is a work no similar to the story constructive elements. The style includes making use of reality and imagines combination in such a skillful way that all the imaginative and unreal events are seemed completely real and natural and the reader accept it simply. Unlike most of the opinion makers view points, magical realism is a branch of realism school and can not be regarded as a separate literary school for it has special fundamentals and structure and is not new. It is totally coordinated with realism school.
 
Ahle Ghargh fiction is one of the major works written in magical realism based style in our country. It is more and more influenced by this style in characters and atmosphere making. Presence of some imaginative elements such as sea Elf, ugly Giant, main character of the fiction being semi-human and … have classified the fiction as the realism work. The writer have combined the reality and imagination well but reduce its reliability when reports or interpret the events.
 
 

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Fotoohi . M. , PH.D.
 
Abstract
This essay is concentrated on Romantic Image. Romantic Image essentially is deferent with classic, symbolic, Surrealistic and imagistic Image, in nature and aesthetic. The author sets forth essence of romantic Image in three sections: The first section explains four special feature of Romantic Image 1) poet's transmutation in nature and things 2) images as shadow 3) running images and 4) individual aspect of image). The second section discusses the relation between images and their places in context of poem with two features of connection and running. The third section explains three functions of romantic images. The final part deals with the metaphoric pole of language in romantic writings.
This essay is aimed at distinguishing classical and romantic imagination and set forth process of creature, value of aesthetics and origin of image insights in these kinds of writing. 
 
 

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Focus on the other person is the main pillar in understanding the core of Mikhail Bakhtin’s anthropology. Although in the novel philosophical viewpoints, the need for the other as a subject has been emphasized; Bakhtin, through the expansion of the meaning and status of the other person, establishes the pillars of his anthropology on the interaction between oneself and the other, while putting one step further and attaching importance to the other person. He presents the theory of the other person. In the view of Bakhtin, the theory of another person draws new horizons in human bonds and their interactions within the framework of mutual, sympathetic, and equal relations in the contemporary era. In the mystical anthropology, the topic of the other person has always been attended, such that one can say mysticism revolves on the other person.
This article intends to research the meaning and status of the other person in the philosophical anthropology of Bakhtin and in mystical anthropology, to show that Gnostics, based on an ethical approach, and Bakhtin, with a social approach, have emphasized on perception of the need for existence and preference of the other person in human life.

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Badr Shaker Sayab and Qaysar Aminpour are the pioneers of contemporary Arabic poetry, and tasteful and innovative poets, whose poems clearly manifest and display the principles of Romanticism School of Thought, including naturism, and historical journeys.
Qaysar Aminpour is a poet, who appropriately reflects sentiments and emotions in his works; although his poems mainly revolve round suffering and pain, such that he is known as the poet who reflects hardships.
These two poets maintain similar characteristics and poetic languages in temporal and spatial dimensions and aspects. This study is based on a number of assumptions:
1- Both of these poets are committed to Utopian Romanticism School of Thought
2- Their works portray geographical journeys and enthusiasm for arrival at their homeland
3- Their works state sentiments and feelings such as pain, suffering, and love
This article has made a comparative effort to discover terms of application of principles of Romanticism School of Thought and to state the similarities and differences of the works of these two poets with these principles.

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Any discourse constitutes of several propositions and discursive formations that are created by focusing on the political, cultural and social conditions of each era. During the rule of Fath- Ali Shah Qajar (1772- 1834), the dominate literary review discourse; which is considered the very traditional discourse, was formed based o the perception system that was governing an era in which, the royal court was recognized as the producing institute of the mentioned discourse. The main purpose of this study is to investigate the role of the literary discourse of return in images specific to Fath Ali Shah Qajar with regard to the political, social, epistemic contexts and the system of knowledge or spirit of the time.
If we admit that until then, Iranian painting and Persian literature have been more or less intertwined; it must be said that as the literary discourse of this period was formed, visual norms in FathAli Shah’s portraits also changed and new features emerged that were not unprecedented in past centuries. In the present study, the authors have attempted to examine how literary discourse led to the formation and influence of king's icons in court, based on Michel Foucault's theory of discourse as a methodological model and an interdisciplinary approach.Studies show that during this period poetry and poetic descriptions continued to be a source of inspiration for painters.Therefore the images of the King became more unrealistic and his aura of holiness grew larger. The king's body also became more intangible and metaphorical.

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The school of romanticism emerged as a dialectical reaction to classicism and neoclassicism in the eighteenth century and it was influenced by philosophical, political and social factors of its age. Romanticism was characterized by its emphasis on individualism, the freedom of imagination, the sincerity of emotions and also the attempts to reach the transcendent truth, discernible beyond the scientific reality. Along with the formation of literary renaissance in Iran, many academians and literary traditionalists introduced modern literature as an imitation of the west in form of translations of western schools, including romanticism. Such an idea has been consolidated by the lack of valid and reliable literary research in the following decades. The current study has indicated that the interpretation of romanticism in Iran has been influenced by neglecting some of its essential characteristics, debasing its components from its philosophical and epistemological context and by inaccurate renditions of some of its core concepts. As literary schools contain conceptualized and structured components, literary research in Iran has seemingly employed this accessible structure in studying literary trends. Consequently, this has led to incomplete and even erroneous understanding of the trends of contemporary literature, due to focusing on sole descriptions of such elements as love and nature, without considering Persian literary traditions. 
 

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Existentialism is one of the most important contemporary philosophical currents, widely reflected in literature; situation, Boundary Situations and death are major existential concepts. In this paper, the reflection of the above concepts in the poems of Shams Langeroodi was surveyed. The results and numerous examples show that firstly, these concepts were reflected to a great extent in the studied poems; secondly, these concepts were reflected through artistic logic and poetic arrangements; and thirdly, some approaches and subdivisions can be seen among the results. Four existentialist approaches to death can be seen among the poems, which are, in order of frequency, as follows: 1. Death as a phenomenon that causes decay, ending, and termination 2. Death as a fact and as a boundary situation. 3. Death and anxiety 4. Death and absurdity and futility. Among Boundary situations, suffering is the most significant. The poet has reflected on the concepts from a variety of perspectives, and therefore the existentialist approach of the poems cannot be fully traced back to a particular thinker.
Extended Abstract
Introduction
The philosophy of existentialism is a philosophy of life and deals with serious and decisive, not abstract and distant issues. As a result, these concepts have found wide acceptance in art, literature, and poetry. Concepts such as situation, boundary situations, and death are found primarily in the works of thinkers from this field. The attention to objective themes may be one of the reasons for the popularity and popularity of this movement. It seems that contemporary literary works, which are called successful works, contain these concepts in some parts. And in contemporary Iranian literature and poetry, a considerable number of creative works had (and have) significant existentialist concerns, and under certain conditions, one can see the reflection of existential considerations in their works. Existentialism in Shams Langeroodi's poems and, of course, existential death, situation and boundary situations in his poems have not been studied yet.
Theoretical Framework and Methodology
The purpose of this article was to examine the reflections of the above existential concepts in the poems of Shams Langeroodi. Therefore, the concepts of death, situation and boundary situations in the works of the most important thinkers of the philosophy of existentialism were first examined, and then the presence of these concepts in the above poems and the poet's main approaches to this concept were studied through examples. It seems that these concepts are among the most common existentialist concepts of the aforementioned poets and show considerable diversity. Due to the attention that thinkers such as Heidegger, Sartre, and Jaspers paid to the mentioned concepts, their works were examined in order to establish a framework for the analysis of the poems.
Findings, Discussion and Conclusion
The results show that all these three existential concepts are frequent in Shams Langeroodi's poems. The concept of death has been reflected in detail in four existential approaches: 1. dissolving, terminating and annihilating death 2. death, a reality and a boundry situation 3. death and sorrow 4. death, futility and despair. As for the number of poems, there are relatively many examples of terminating and annihilating death. As for the boundry situations, besides death, the boundry situation of suffering is reflected most often. The diversity of the poet's existential approaches to these three concepts is one of the obvious findings of this study. His poems reflect the many existential tendencies to which he is exposed, and, of course, he has always kept in mind that he is a poet and that his work is different from philosophizing; therefore, his poetry contains a number of existentialist theories in which the concepts of the main existentialist thinkers are reflected. Therefore, his poetry cannot be completely attributed to a particular philosopher, and, of course, the poet's emphasis in the poems under study is on "being a poem".