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The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences.  These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.

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This paper deals with the role of the Theatre of the Absurd in the evolution of the history of Iranian dramatic literature. In the modern art everyone in a way is involved in the question of modern technology. Mechanization has made its way into everyday life and has affected all its aspects.This effect is so immense that everyone is in way occupied with the same subject. One of the concepts evident in the works of European authors and playwrights is absurdity and inefficiency of the modern time and the people. This article investigates how the concept of the absurd is reflected in the plays of Gholam HosseinSaedi. It has been tried to present an analysis of how Theater of the Absurd and its pioneershave influenced Saedi’s plays.

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To establish a creative volition in unilateral engagements, the determinant should, firstly, create his/her internal will in his/her mind. Although some jurists believe that as we do not need other's interference, the internal will is sufficient to establish a unilateral engagement, it seems that this kind of will ought to be expressed in order to be realized as a social and legal fact. This view is also because of the fact that the unilateral engagement effects other's rights and its undertakings should be insured. Hence expressing is a "term", which effects the internal will and so creates the unilateral engagement. In process to establish the creative volition, we should use "the special ways to express volition" in order to make the internal will enter the external world. These ways and instruments are traditionally "word" and "act", and the new "electronic instruments". As it is doubtful to express volition with "gesture", "exchange", "inactivity" and "silence" in unilateral engagements, here we evaluate the possibility of using them. However, all these ways and instruments should explicitly or implicitly indicate the volition. In other words, the external will should accord the internal one. The explicit word (literal or written) indicates the volition equivalently while the implicit words and also acts, circumstantially and implicitly, indicate the volition.

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Characteristics of the celebrities can have commercial values and be in use of different products. Nowadays the common ways for celebrities in this regard is that they let the investors use their name and image to advertise a certain product. This approach toward fame is becoming a developing business and in a way it can be called an industry which can amount to a lot of revenue. However use of the celebrities fame without their consent with commercial purpose can led to their dissatisfaction  and a legal complaint. Legal support extension to fame right in intellectual property rights can support these rights owners.
This paper will analyze features of fame and reputation, developed legal system regulation in this regard and capacity of theses legal systems for supporting the celebrities. By using these legal systems experiences we will introduce useful suggestion to Iran's intellectual property law. It should be said that in common law systems with the implications of intellectual property law principles and new legal establishments, fame and reputation rights has been supported. But in Iran legal system,  with the lack of the minimum regulation in regard to this matter, legal precedent doesn’t have the necessary effectiveness to act upon such matters.