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Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

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Karnameh, Shahrashub, Senfi (guild)poetry, and Shahrangiz are the names that are used often interchangeably in the sources due to some similarities and the fact that they share the same root. However, these genres have enough nuances that can distinguish them into four separate genres. Of course, it is more difficult to consider karnameh as a genre since there are few and sometimes incomplete examples of it and that, practically, karnameh is transformed into shahrashub at last. The same is true about senfi poetry in which the professions are described poetically and the craftsman is portrayed as the beloved but, later, they were entered into shahrangiz genre and sometimes became extended and coherent works instead of scattered poems. Identifying the delicate features of these genres requires a lot of precision and, indeed, the inaccuracies have caused some of the experts and scholars to confuse these genres. However, it should be noted that, even at the time of their currency, poets and literary figures considered them as not following any norm and convention. Drawing on original sources and taxonomical studies, this research aims to identify and represent the nuances of each of these genres. 

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Despite the differences that recently have arisen in determining the meters of the folk poetry, it can be said with confidence that the meters of the folk poems follow the rules of syllabic accentual meters. Work songs (work poetry) is a branch of folk poetry which is read in harmony with the rhythm of the work and it has work-related content. Workers recited these poems in groups or individually to refresh themselves, making work easy and faster. In this article, at first, we have defined the work songs and its types and characteristics, and then analyzed the meters of these poems from two perspectives: the quantitative meters, and the syllabic accentual meters. We have found that the work songs follow the syllabic accentual meters and there is a significant relationship between the meters of work songs in a specific branch. The work songs also match the rhythm of the work. Also, by changing the work rhythm, it takes on different rhythms as well.

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Cultural Semiotics, concerned with revealing the processes of meaning formation and identifying inherent values and norms in texts, was established by Yuri Lotman (1922-1993). This approach to text analysis, by focusing on the interrelation of different semiospheres, provides a new possibility to analyze cultural events to identify the means of text production in a specific semiosphere. Mythological-theological texts appear to be significant cultural sources for such an analysis and therefore Avesta, as a mythological-theological text, was selected for the current study. This paper has focused on Jamshid and attempted to study the delegitimization process of Mithraism and legitimization process of Zoroastrianism. Jamshid was studied in the binary of Self and Other and he was viewed as a god in Mithraism who, by the depreciation of vedic ideas and the influence of Zoroastrian semiosphere, had obtained a sinful character. Sinfulness of Jamshid was explored here by analyzing his introduction to the new semiosphere, the rejection of Other and the emphasis of Self culture (Zoroastrianism).
 

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In addition to his position as a teacher, musician and composer in the field of music, Arshad Tahmasabi has also gained a familiar and prominent name in the field of Iranian music research writings. He has recently written a book about his life, which is considered to be the most important source of knowledge for knowing the innermost currents, considering his delicate and sensitive artistic spirit, character and research method, as well as his high moral outlook and bold frank expression, as well as his valuable writing experience and his familiarity with fiction literature in particular. And he is considered the most important music personality of this half century. In addition to this, this book is a great example of the Amighi autobiographical literary genre in terms of writing creativity.