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 The focus on time and temporality is of central importance for the fiction as well as literary criticism of the twentieth century. Georges Poulet (1901-1992) is a Belgian literary critic who opposed formalist approach criticism. He devoted the foundation of his critical-philosophical idea to the time category and studied the “perception” of the writers through their stories. Hushang Golshiri is an influential modern Iranian writer who explicates the question of identity and the perception of time in his works. All his characters, in one way or another, struggle against time. Drawing on a descriptive-analytic method and through Poulet’s theoretical lens, I will expound on Golshiri’s perception of the temporality of a transient instant. The personal space of characters in his stories is closely related to a perception of an instant through different temporal measures—for instance, the act of staying in the long lines, the narrator walking with people, focusing on the steps, etc. all trying to establish an interpersonal perception of time. Furthermore, the past memories in his stories constantly bleed into the present instant through different associations of sounds and images and therefore make the present instant eternal. The fragmented structures in Golshirir’s stories such as the repetitive water fountain or breaking of the small waves on a pool, while pointing to the transience of time, also draws attention to a notion of infinity. In other words, the repetitions, remembrances, and even the act of forgetting in his stories are all essential for constructing a notion of identity in relation to the transience of an instant.

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Formalistic criticism was the most important approach at the turn of 20th century that was originated from the modernism. The last decades of nineteenth and the early twentieth centuries, were the periods of denial and rejection as well as break-away from the past literary and artistic traditions. Modernism tried to break the ideology of ancient art and created "new" and "modern literature". For that reason, in the early twentieth century, thinkers made anti-cinema, anti-theater and anti-novel efforts to create a kind of anti-artistic views. The formalism in this tumultuous scenario raised the flag to combat traditional thoughts in literary and artistic domain. Is today, in the existing circumstances, formalism can be used for literary criticism ?
In this paper, the manner of emergence of formalism in the early twentieth century literature is studied and techniques and theories are compared with the Persian rhetoric. Undoubtedly, today, after the passing of nearly one century of the emergence of formalism, it should be noted that although formalists created new theories, almost all
stages of their works are clouded with dogmatic fundamentalism. Today, in order to pay tribute to their efforts, formalistic critical school, with an absolute perspective, must virtually be placed in museum of artistic and literary criticism and cannot be used as an ultimate and final method in criticism.

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The Jung’s criticism is real area of mythological criticism. When
this criticism focuses on the archetypal deep structures that also
describes the "archetypal criticism". In recent decades, with the
growth of postmodern philosophy and with the influential of theorists
such as Lacan about language and unconsciousness, Jung’s criticism
too was affected from post-modern views. Post- Jung criticism which
possesses three approaches and eight main schools was abstracted
from this main approach. Among areas of Post- Jung criticism, one of
the most widely applied theories in the field of literary criticism is the
archetypal criticism that is both inclusive and pluralist. In this
approach, internal and external elements of texts are interpreted
through deductive method.
In this paper, in order to examine the methodological approach of
archetypal criticism, we have explained the quality of critical theory in
the text. Then, with the classification of various texts, we tried a
practical approach to the textual analysis to show how the theory
attempted to extend the area of operation.

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From the eighty’s onward, after the emergence of folklore culture and literature into academic field, a change occurred in the field. Various research works in forms of book, thesis, article, etc. are written on different subjects every day. Some of the main works among these are the books that should have distinctive features in the field of folklore literature as basic works, so that they could bear the educational and research objectives of the field. One type of folklore literature book is “Generals”. By the name “Generals”, it is meant that they deal with different subjects in the field of folklore literature, and these works are generally written and published for teaching. However, they have a crucial role in the basics and general issues related to the studies in this field. Although the publication rate of these books is growing on a daily basis, no criticism has been done about them yet in order to categorize and evaluate the strengths and weaknesses of these works, and consequently help researchers for an informed selection of these works. Considering the significance of this issue in this article, five important books from folklore generals’ book series are selected and criticized according to their publication time from the first one in the fifties to the books of the late decade. Since these books are generally taught at universities considering the educational department's enactments in the field of folklore culture and literature, these works were criticized and compared from the aspects of form and content, succession, generality and scope, theory application, revision and scientific validity, reader-friendliness of background and principles, etc.

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After the World War II, the notion of spatiotemporality plays an important role instead of space and time independence from each other. This emphasizes time category and all its strata and dimensions. Based on the theoretical framework of geo-criticism and according to Bertrand Westphal's point of view, the present study attempts to investigate spatiotemporality from textual space, relying on La Modification novel by Michel Butor in order to create a new study of this novel on elements of geo criticism. Space evolution during time is described in textual space by Michel Butor's novel. Research questions are: what is the role of time in space evolution? How the spatiotemporality evolution in Butor novel is described? Therefore, results of this paper demonstrated that space cannot be analyzed without considering the temporal strata and intervals; space and time have created a spatio-temporal continuum. Space and time are inseparable elements in geo-criticism. If time is dynamic and variable, the space is also variable and dynamic. Therefore, the only way to represent transformed and stratified space is paying attention to textual space. This paper aims to scrutinize the represented space and its changes in literary discourse, so that the reader can imagine this space and represent it in his/her mind.
 

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Cognitive Linguistics Studies have found that conceptual metaphor is an active process of cognitive system which has an influential role in the construction and organization of cultural network in mind, language, and behavior of humans, so that many categorizations and understandings are based on this mechanism. Moreover, the Conceptual Metaphor Theory, introduced by Lakoff and Johnson, (1980) claims that there is a significant correlation between biological and environmental experiences of humans and their metaphorical conceptualizations, which can be represented in the language including the language of poetry and literary discourse. Literary discourse and poetry have the same linguistic rules. In this view, there is a relationship between the basis of conceptual metaphors and literature, since in a specific language there are mappings between target and source domains which are invoked by experiential correlations, perceived structural similarities and the existence of source domain in their literature.  On the other hand, Eco criticism focuses on the relation of human and nature and their reflection in literature. In this approach, what is emphasized on is the reflection of the relationship between humans and their environment in literature. The crossroad of these two semantic and literary approaches can be a framework in which we can study the cognitive link between the poet and his ecology and its manifestation in his work. The language of poetry is influenced by ecological experiences of its poet. Until now, no study has been performed to analyze the relationship between nature, poet and language of poetry from this eclectic approach. Therefore, this paper tries to study the influence of environmental experiences of Salman Harati, who is a famous Persian contemporary poet, on the social-religious conceptualizations reflected in his poetry. In his poems, an obvious relationship between ecological elements and concepts and the poets conceptualizations is reflected. The emergence of political and social beliefs and interpretations in Harati's poetry is the most outstanding property of his poetic language which is portrayed with the help of the concepts existing in the nature of the north of Iran.  This research has used an eclectic method of both Conceptual Metaphor Theory-specially the principles on the basis of metaphor- and Eco criticism. It has used the cognitive mechanism of conceptual metaphor to explain the effects of experiential concepts of nature and the poet's direct observations of it on his poetic conceptualizations. The metaphors have been limited to those with the target domain of Martyrdom and Imamah because the essence of Harati's poetry is religion. The authors seek to answer the following questions: 1.how the natural environment has affected these metaphors? And 2.Which environmental and natural concepts have been used as the source domains for the conceptualization of social and cultural concepts- Martyrdom and Imamah?-. From another perspective, 3. What role or roles the ecology or nature has/have in the meaning construction in literature. To do so, the metaphors involving the target domains of Martyrdom and Imamah have been extracted. Then, on the basis of Cognitive Metaphor Theory, the role of the poet's natural environment as well as its components on his poetic conceptualizations have been explained. The results of this study showed that ‘Salman ecological and cultural experience have great influences on forming his poetic discourse and on the interaction between emotional and cognitive spaces in his poetry. Harati has used three target domains of nature including light, plant and, water and their relevant concepts to highlight some aspects of martyrdom and Imamah. There is a metaphor martyrdom / martyr and Imamah/ Imam is nature underlying all of these conceptualizations. Knowledge, monotheism, love, resistance, waiting and other meaning components relevant to martyrdom and Imamah culture are highlighted through these ecological metaphors.
 

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Conversational implicature, which is a component of speaker meaning that constitutes an aspect of what is meant in a speaker’s utterance without being part of what is said, is  subsumed under interlanguage pragmatics (ILP) which has attracted considerable attention from pragmatics practitioners and theoreticians. Nonetheless, very few studies have explored the correlation between implicature knowledge and the proficiency level; therefore, the present study, conducted at Golestan University among Teaching English as a Foreign Language (TEFL) and English Literature students,  aimed to find out not only whether there would be any statistically significant relationship between 102 (35 males and 76 females) Iranian EFL learners’ proficiency level (High vs. Low) and their implicature knowledge as well as the subcategories of idiosyncratic and formulaic implicatures, but also whether there would exist any significant relationship between male and female EFL learners’ proficiency level (High vs. low) and their implicature knowledge. Moreover, this study investigated to what extent the (sub)categories of idiosyncratic and formulaic implicatures could be predicted by the proficiency level. The results of Pearson correlation indicated that there was a positive significant relationship between proficiency score and both formulaic implicatures and idiosyncratic implicatures. Moreover, among three sub-constructs of formulaic implicatures, Understand Criticism had the highest positive significant correlation and the Pope Q had the lowest correlation with proficiency. In addition, among four sub-constructs of idiosyncratic implicatures, Relevance Disclosure had the highest positive significant correlation and Relevance General had the lowest correlation with proficiency. However, the results of independent-samples t-test indicated that there is no significant difference in the implicature knowledge between male and female students. Results of Structural Equation Modelling (SEM) revealed that both types of implicatures are predicted positively and significantly by proficiency level. Therefore, one of the implications of the present study for materials developers is to include idiosyncratic and formulaic implicatures in the textbooks to enhance the leaners’ implicature comprehension; teachers can also focus on the significance of interpreting the implied meaning rather than just focusing on linguistic features.
 

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In the transition from the "speaking-listening" form of narrations to its "writing-reading" form, the risk of forgetting and all kinds of distortions caused by oral transmission began to decline; A matter that, although it was followed by a slight opposition at the beginning, but with the manifestation of its many merits, it met with public favor and following this all-encompassing tradition, hadith correspondences emerged. What makes this change somewhat problematic and creates a problem in trusting it is the void in the face of hadiths. The characteristic of the Arabic script in the classical period was not able to express all aspects of speech. Therefore, in some cases, multiple readings of hadith letters emerged; What in linguistics is called "reading deviations" that in some cases is different from the real meaning of Masoom (AS). The passage of time and distance from the atmosphere of hadith issuance fueled many readings; Therefore, it prompted the hadith scholars to look for solutions to overcome this problem. In this article, which is organized by descriptive and analytical method, an attempt has been made to present a model for a better reading of narrations by using both traditional and new methods. Going through the classic solutions such as paying attention to the "rules of Arabic literature", "famous reading" and "components of the sentence texture", referring to important criteria such as "finding the reading based on complementary relationships, intensity and contrast" and "analysis based on intertextual reference" gone.
 

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This article attempts to show the fundamental shortcomings of phenomenology-based researches in persian literary articles. The phenomenology- based research articles in the last decade has been collected and their definition of phenomenology has been compared to that of the founders of phenomenology, specially Edmund Husserl. These articles are divided in to three groups: 1- Those which attempt to "interpret" a literary work according to phenomenological approach 2- Those which compared phenomenological concepts with some poetic themes and viewpoints of some poets (specially Sohrab Sepehri and Nima Yushij) 3- Those which used "Phenomenology" as a completely useless concept, which has no crucial role in the whole research. The article concludes that these kind of researches are full of misunderstanding, because of 1- mixing the true meaning of phenomenology with poetic inventions,2- the misuse of phenomenological approach in reading literary works, and 3- not having an appropriate recognition of what a "Theoretical Framework" should be.

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If we consider literature a pervasive and manifold construct, which is in need of interpretation, and if we consider psychology a knowledge capable of interpreting some aspects of literary works, we can notice that the relationship between psychiatry and literature can be the cooperation between two forces for discovering a world, which has remained hidden and unknown under the shade of the language of literary works. Therefore, the Farsi language scholars have carried out many studies so far on the basis of psychological criticism perspectives. The results show that those performing such research have mainly utilized Freud, Adler, Lakan and especially Yung theories in the criticism of literary works. Although these papers present useful information, most of them suffer deficiencies resulting from insufficient information or carelessness of the authors or their extreme biases. For example, sometimes an author has tried to exercise a bias for a specific literary work and through matching it with positive aspects of a specific theory to appreciate and praise that work. At some other times, an author has tried to find evidence based on an unreasonable certainty in the theory to make him/her able to warrant the disruptive and the unhealthy character of the author and different characters in his/her work.
Sometimes, the author tries to tie two things, which are not related by any means in order to present an innovative writing. Overall, these biases make serious damages to the psychological criticism of Farsi literary works. By investigating the discourses written in this regard in Farsi, this paper investigates in detail the literary-psychological criticism in Iran and presents its weak and strong points.

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The novel Beevatan (Homeless) penned by Reza Amirkhani, is a Farsi modernist and semi post-modern novel, in which the author intends to manifest the identity of modern man in the contemporary era of Iran. Given the humanistic identity of the novel and major factors such as the style of this writing, its characters, and terms of development of dialogue in the contemporary stories and their related ratings; this article intends to carry out a psychological analysis of the main characters of this novel via a descriptive and analytical approach and reliance upon the theoretical framework of the quality of self-awareness. The results of this study shows the character of Armia as a searcher, who can be identified with an individual who faces a dilemma and is caught up between tradition and modernism. This character in her efforts to remove doubts or to discover her inner self could also be categorized under the model of an orphan. Meanwhile, Armita is an epitome of innocent. Among the less important characters, Susi is the manifestation of an orphan, who has been dragged toward commitment of suicide due to her deep sense of despair and lack of any supporter, who would end her solitude.

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Zamji-Nāmeh is the first logical sequence of Abu Muslim-Nāmeh and from the perspective of story, it narrates the events that happened after the murder of Abu Muslim Khorāsāni. The content of Zamji-Nāmeh is arranged in three parts according to the existing manuscripts and until today, only its first part has been published. The subject of the first part of Zamji-Nāmeh is the description of the circumstances and struggles of Ahmad bin Muhammad bin Ali Zamji and his other comrades who, after the killing of Abu Muslim, went against the Abbasids and continued until the destruction of Abu Ja’afar, the second Abbasid caliph, the narrative of which ends with the martyrdom of Ahmad Zamji. However, the second and third parts of Zamji-Nāmeh, known as Golzār Ali Ahmad Zamji and Koochak-Nāmeh, which reported the condition of the children of Ahmad Zamji and Abu Muslim Khorāsāni, have not yet been reviewed and have not been published. The current research has focused on the criticism of the unique manuscript of the second part of Zamji-Nāmeh, Golzār Ali Ahmad Zamji, in an inductive way and has presented its findings in two parts: codicology and textual criticism. In the first part of the study, the characteristics and handwriting of the only manuscript of this story in the library of Punjab University in Lahore are given, and then some other unknown manuscripts related to Zamji-Nāmeh, which have not been noticed until now, are introduced. After that, in the second part, titled textual criticism, the characteristics of the story have been examined
 

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As a reflection of the collective unconscious and human psychological struggles, folk tales are one of the best sources of psychoanalytical analysis, especially the theories of children's gender. By projecting many of their conflicts on the characters of the story, the audience of these fairy tales - especially children - can externalize their aggressive impulses and achieve a kind of psychological and emotional integration while symbolically experiencing some of their repressed emotions. Sigmund Freud, as the founder of psychoanalysis, has repeatedly emphasized the importance of classical folk literature and has built many important concepts of this knowledge on myths and legends. One of the key concepts in the psychoanalytic theory is the Oedipus complex, which is, according to Freud, the responsibility of every child who steps into the arena of existence to overcome it. On the other hand, the Kurdish language has one of the richest popular literatures due to its dialect diversity and pristine geography. In this article, the author analyses the legend of Shirzad Shirpanj from Kurdish folk literature from a psychoanalytical perspective and demonstrates the extent to which this story conforms to the theory of the Oedipus complex and what solutions it offers to overcome this fateful path. In this story, the Oedipal conflict started in the dominance of the son and father competition, and finally, with the acceptance of the father's position and the decline of the Oedipal impulses, psychological maturity and inner peace emerge.

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This article examines the reproduction of gender identity in Dowlatabadi’s short story “The Man” in the light of Judith Butler’s theory of Gender Performativity. It investigates the cultural function of identity and the way language discursively reflects the role of the unestablished identity in the story. It also presents new outlooks towards language performativity of the male/female dichotomy. What this article focuses on is an individual's identity, and language, exploring the concept of gender performativity.
Butler asserts that performativity is a ritualized production and a constrained reiteration of cultural intelligibility under the compulsory prohibition pressed by the power regimes. The culturally-acquired gender is crafted based on the socially recognizable standards, which form the directionality of the self-representation. A Gender is an act that requires a repeated performance in ritual and social dramas. She declares that one is not born but rather becomes a subject whose gender is a discursive construction that defines his/her body. Moreover, the gendered subjects were subordinated to the language that interpellated them, so that each individual became a linguistically stylized occasion.
Dowlatabadi’s main character in this story undergoes transfiguration from childhood to adulthood affected by the social upheavals leading him towards his crafted and gendered identity formation. His father’s roles are resignified through the reiteration and imitation of the gendered and naturalized regulations. Surveying “The Man” elucidates that gender identity is an imitation, which leads the character to resignify and recontextualize the parodic gender reproductions. Therefore, the established discourses gave the agent the feasibility to establish his intelligible social existence.
Springing from the discussion about gender performativity of Dowlatabadi’s character, the article concluded that identity is a phantasmatic construction. What an individual performes is a non-intrinsic parody of the culturally constructed regulations. It can be concluded that identity is established by the power of language that interpellates the subjects.
 
 

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The later Wittgenstein believes that there are unlimited forms of language that can lead to language-games. In one of these forms of language-game, from the viewpoint of the later Wittgenstein, the verbal language in the recognition of communication not only represents thought, but in broader and social definitions, can serve as a sign for expressing power relations. This thought is reflected in the discourse between dominant forces in society. In this discourse, the power that takes advantage of verbal language is recognized as the center, who tries to impose its way of thinking on the margins. In the course of this language-game, however, the center is not fixed, and the margins periodically become the center and recreate itThe reflections of this theory can be explored in the performing arts form of Takht Houzi (also Siah-Bazi) as an Iranian traditional-ritual play. In this form, the master represents and acts as the center (power) that molds its superiority in a discourse with Black (Siah) Meanwhile, Black, as a marginal type from the traditional community, resists the center/master through verbal measures (known as the Kaka'i language). The paper aims to study the play that name Soltan and Siyah by Ali Nasirian, with the analytical-descriptive approach, first delineate the language-game theory of the later Wittgenstein, and then examine the verbal actions embedded in Takht Houzi to shows how social criticism is shaped by this notion and is represented by the margin-center game within the verbal language.
 
 

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The personal credibility and authority of the historian are one of the major subjects in Historiography. It's important since the greater the personal credit of historians, the greater would be the degree of persuasion of the audience. In this article, we analyze the degree of historian influence on audience persuasion and rhetorical methods and verbal devices used for historiography credit which makes the text more believable to the audience. In this article, applying the Neo- Aristotelian criticism method, we want to demonstrate the historian Ethos and strategies used by him to increase his credit. For this purpose, we choose Futuḥāt-i shāhī Cornicle by Amīnī Haravī, since it was one of the first and impressive histories of Safavi's government formation and its ideology because the role and personal credibility of historian and his persuasive of methods are very important.
 
 1. Introduction
the  historian personality is one of the main factors in the validity of historical narrative. The character of the historian is a rhetorical function here. Because in addition to validation of historical narrative, it is accompanied by the persuasion of audience. Historians, consciously in history, have sought to validate their historical events. They used objective eyewitnesses, predecessors, contemporaries, and so on. However, it should not be mentioned that the most important and fundamental factor in historical authenticity is the character of the historian. From this view point, historical authenticity is closely linked to the historian's authority and credibility. The historian's credit for the historian is that what method would the historian produce the right documents? Thus, the degree of content of the historian's discourse increases in the presentation of historical evidence. The authors seek to show how the historian achieves this personal credit in his historical context.
 
2. Methodology
Among rhetorical criticism, neo - Aristotle criticism has long term history. This approach, although criticized and reviewed, continues to be one of the most important approaches to its life. First, in 1391, Herbert Wichelns propounded the main tools of neo - Aristotle criticism as "  The Literary Criticism of Oratory " in his article. He made a distinction between literary criticism and rhetorical criticism there. Aristotle had already begun to write in the On Rhetoric and other like Cicero and Quintilian. These elements were the speaker’s personality, the public character of the speaker or the public’s perception of the speaker, the major ideas presented in the speech, the motives to which the speaker appealed, the nature of the speaker’s proofs, the speaker’s judgment of human nature in the audience, the arrangement of the speech, the speaker’s mode of expression, the speaker's method of speech preparation, the manner of delivery, and the effect of discourse on the immediate audience and its long-term effects (Foss, 2009, P. 22).
Since he did not deal with the analysis of these subjects, literary critics applied to the sources of classical rhetoric and benefited from the underpinnings of the rhetoric that Aristotle discussed in On Rhetoric, literary critics turned to classical rhetoric and took advantage of the rhetoric pillars that Aristotle had discussed in oratory: innovation, arrangement, style, memory and delivery (ibid, p. 22). Therefore, the application of the three elements of Aristotle s artificial arguments for review and critique of literary texts was first proposed in the neo - Aristotle criticism approach.
In this paper, the authors mention the difference between Aristotle and Cicero Ethos. This difference is, first, that one of the characteristics of the orator was based on common sense. This feature is necessary for the rational type because if a speaker wishes to express the truth, he must be wise enough about what he is talking about. The second is the difference between the client and the plaintiff which has very little relation with Aristotle's rational Ethos. This concept entails two categories: content and influence. It is, therefore, a good representation of the character of an orator and the principal (content ), for the audience . In other words, this study aimed to investigate the relationship between self - efficacy and Pathos. The difference between Cicero’s Ethos and Pathos is that he has some kind of gentleness with him, but it is equal to arousing strong feelings. While Aristotle's Ethos is a logical concept and does not have a goal in arousing emotions, and unlike Aristotle, it includes all types of feelings.
According to the above explanation, in this paper, the authors have put the Aristotelian Ethos for text analysis. For Aristotelian ethos, in addition to being text, Aristotelian Ethos is more logical than Ciceronian one. On the other hand, because in the new - Aristotelian approach, Aristotle's theory has been used. It is necessary to mention that the authors have mentioned the above explanations to understand the addressee about Aristotle and his critique of neo - Aristotle and have extracted the text analysis unique to Aristotle's theory and those cases which have been used to obtain the authenticity of the historian.
3. Conclusion
In the tradition of historiography, some of the essential elements are common and are not special to Futuḥāt-i shāhī, such as the fame of the historian and writing and composition. But some of these elements, especially those of Futuḥāt-i shāhī  which belong to the historiography of Safavid era, are the means of distinguishing it with pre - Safavid historiography.Using the current discourses of their time Amīnī Haravī seeks to link past discourses with the new discourse of Safavid establishment in the direction of legitimacy.
It should be divided into two categories: general elements and discursive elements. Those elements which serve to strengthen and promote the values of Safavid's political and ideological system will be credited to the historian and his work. However,  for audiences outside the discourse or the rival discourses can reduce the authenticity of the text and reduce it to a sectarian text. In this paper, we used the rhetorical criticism techniques to investigate the functions of the ethos for the historian in the whole text of the Futuḥāt-i shāhī and showed how intratextual and extratextual elements could add to the historian's credit.
 

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In recent years in Iran, the development of interdisciplinary studies has caused a variety of attitudes toward literary topics to be created especially in literary criticism. However, in these studies use of interdisciplinary capacities for a more accurate understanding and creating transformation in other literary fields such as rhetoric and classical aesthetics of Persian poetry has largely been neglected. Therefore, the present research seeks to address allusion topic in rhetoric by a descriptive-analytic approach and to identify and introduce this rhetorical element based on new interdisciplinary studies approaches and literary criticism. The results of the research indicate that allusion despite its apparent simplicity is one of the most complex and multilayer elements of the rhetoric that can be examined and looked up using the modern achievements of various disciplines such as linguistics, semiotics, sociology and some theories and discussions of literary criticism

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of Intra-Media Excerpts
Zahra Hayati,PH.D.
Abstract
In literary and cinematic comparative studies, a question which springs to mind is whether the cinematic techniques or elements of cinematic style can be compared with literary techniques; in addition to narrative elements and comparison of literary tales with film scenarios? In case of feasibility of such comparison, what is to be concluded from this study? Aesthetics is a common process that can be studied in the artistic expression of two different media. To make sense and formulate tacit reasoning with the cinematic style elements shapes the pivot of comparison. For instance, conveyance of meaning or particular definitions have been known via audio signs or signs of color and light in cinematic criticism. The premise of the study is that if the possibilities of definitions are analyzed in literary texts with markers that are close to cinematic style elements; the literary text is read in another manner, and its latent meanings could be discovered or a new definition could be presented by the reader for the text. Given that the discovery of meaning or creation of meaning are under the heading of recent definitions of literary criticism, it can be said that comparative study of literary and cinematic techniques at times materializes criticism through reading the text with a special approach and upon perception of its meaning. In a number of comparative studies that have been covered by literary and cinematic critics in recent years, cinematic markers have been instrumental in study and research of literary texts. Recitation of a literary narration based on consideration of terms of presentation of narration with descriptions founded on movement, color, sound, music, decorations and …etc. at times leads to discovery of relation between the format and the content. For instance, repeated elaborations on public places by the narrator can manifest that domination of the general picture of a story at times is due to solitude of the character and his contradiction with the surrounding environment. Also, the confrontation of the moods of a sad character in closed environments to the happiness of public places in the view of the story’s character can grant a semantic structural role to contradictions of general manifestations and major manifestations and for instance state the sense of solitude of a character toward the other world.
 

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Reza Rohani, PH.D.
 
Abstract
 
The author of this article introduces one of the examples of religious poems composed by Qaysar Aminpour to praise the 8^th Infallible Heir of Prophet Mohammad (Blessings of God upon him and his progeny), Imam Reza (Peace be upon him), which is an ode, titled: “Roads of Khorasan”. The author of the article studies and structurally analyzes this poem in regard to format and content based on novel criticism models.
The study reveals that the poet has selected an appropriate format for his considered text, idea, and emotions via appropriately blending different elements of music and a simple, lively, and friendly language.