The purpose of this study is to investigate the status of women and their role in literature of Qajar era in classic religious schools. We have selected seventy fairy tales from popular folk tales in the Qajar era. The conceptual model of this research is a combination of literary and sociological theories as well as qualitative research method and content analysis. After reading the textual body and extracting the data, we used the conceptual model of the study to examine the actions of women in the stories. The aim was to explain the various roles of women in stories. The findings show that considering the predominance of masculine discourse and gender-biased mentality, the political and social role of women in stories is prominent and their cultural, educational, and legal roles are very limited. The rest of the women's roles are located these two maximum and minimum poles.
 

Structuralism is one of the most important areas of the modern literary theory, which has contributed to the creation of new subjects, the evaluation of similarities and differences, and the possibility of the analysis of the Persian literary texts based on standard universal models. Recently, Western literary theories have been increasingly used in the analysis of many literary research studies in Iran, aiming to shed some light into the hidden aspect of literary works and provide new insights. And few studies have ever not used structural and morphological approaches in their literary analysis. Based on a review of the Persian literary morphological studies conducted in different decades, the present study aimed to analyze the growth of them qualitatively and quantitatively and also to analyze their literary genres. Further, it investigated the degree to which Propp’s morphology theory has been used in a standard scientific way in these texts. Finally it was concluded that the inappropriate and mechanistic applications of Propp’s morphology theory in the Persian literary texts have led to inappropriate theory selection, simplification story elements, disregarding the goal and context of the theory, repetition of the method, poor introduction, and unrelated conclusion.

Abstract
The environmental criticism that emerged in response to the environmental crisis, traces the origins of many environmental problems in its cultural roots and by bridging the gap between science and culture, seeks to halt or slow down the growing trend of the environmental crisis. This criticism has attracted the attention of Iranian researchers in the last decade, but it seems that this type of research in Iran is still far from international standards. Due to its connection with political and economic issues and many other complexities, this criticism has its own special capacities, but since less attention is paid to its contexts and fundamental issues in Iran, it has become more decorative and its various principles and dimensions have not been considered. In order to bring the principles of this criticism closer to its global meanings in Iran, this study tries to investigate and survey the problems and shortcomings of this criticism with its strengths and weaknesses by reviewing the perspectives of prominent global theorists and evaluating a number of articles published in Iran on ecological criticism. The result of the study reveals that the lack of proper understanding of the concept of ecocriticism and the environment, ignoring the value and inherent position of the non-human world regardless of the humanistic view, ignoring the interdisciplinary aspects of ecological criticism, the lack of pragmatic and practical dimension of criticisms and the wrong choice of works for this criticism are some of the problems that environmental criticism faces in Iran.
Research Background
Environmental criticism was introduced to the Iranian scientific community in 2008 with a study by Davood Emarati Moghaddam in introducing the book “Ecocriticism” by Greg Gerrard. Later on, some studies entitled “An Introduction to Ecocriticism” and “The Theory of Literary Ecocriticism – An Introduction to New Research Schools in Studying and Analyzing the Form and Content of Literary Works” by Masih Zekavat (2011), “An Interdisciplinary Movement between Environment and Literature” by Mohammad Naser Maududi (2011), “Ecocriticism, a New Approach in Literary Criticism” (2012) and the books “Ecocriticism” (2013), “About Eco-Criticism” (2013) and “Green Literature” (2015) by Zahra Parsapour introduced Ecocriticism and some of its dimensions and contexts.
Objectives, Questions, Assumptions
The history of the presence of nature in Persian and world literature is as old as literature itself and their nexus is inseparable. As a result, many researchers have analyzed this relationship based on the poet and the writer's interest in nature and their impression from the environment, but the problem is that most of these studies have been published under the title “Environmental Criticism”. Now the question is if expressing the interest and respect of a poet or writer towards nature can be considered as an environmental criticism, or whether this is a new problem that has not been addressed before. What kind of approach and perspective towards these works can place them within the sphere of environmental criticism? What is new about this criticism, and what sets it apart from the old approaches towards nature? Are the ecological studies or environmental criticism that is known in Iran correctly interpreted? What are the problems and shortcomings of addressing this criticism in research in Iran and what are the missing subjects in this field? 
This study critically examines fifteen articles published under the title of “Ecological Criticism in Iran”, and deals with the problems and shortcomings of such studies in Iran and tries to introduce this type of criticism correctly and offers suggestions for improving the situation of ecological criticism.
Discussion
The basis of the problems of environmental criticism in Iran is related to the problems of translation and also a group of intellectuals’ presumptions, thinking environmental criticism is not yet a serious issue. First of all, it is required to provide a definition of environmental criticism. In addition, the necessities of environmental criticism should be taken into consideration as well.
If this criticism is a study of the relationship between human and inhuman world in literature, it is necessary to know the essence and the meaning of the inhuman world and the extent of its boundaries in ecocriticism. Ignoring it in many local and foreign studies has made it fundamentally difficult to properly understand this type of criticism. The interdisciplinary aspects of environmental criticism, the intrinsic value of nature, choosing the right work and author for an analysis and being pragmatic and practical are some of the principals that should be considered in environmental criticism.
 
 
Conclusion
Studying these fifteen articles published in the field of ecocriticism in Iran reveals that many of these articles have difficulty not only in providing a correct definition and an accurate knowledge of the work, but also in complying with the requirements of environmental criticism. Accepting the environment and nature as an independent entity beyond the humanistic view was not observed in the studies, and although the practical and pragmatic ideals are the two basic features of ecological criticism and a guarantee for saving the environment, they have not been reflected in Iranian environmental studies as they should have been. Translating basic texts and resources in the field of environmental criticism and combining it with indigenous cultural features in the country is essential to recognize the extensive dimension of this framework. It can also pave the way not only for solving the current problems, but also for enhancing the effectiveness of studies in protecting the environment and creating a culture to prevent its destruction.

Although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian researchers are more concerned with explication and introduction of the theme of literary works than to discuss the processes, methods and strategies of discovering and understanding the theme. This paper, relying on examples of literary and art criticism, introduces two thematising processes: direct and indirect. The first and prevailing process obtains themes through the evident signs and explicit meanings of a text. Three of these evident signs include the direct utterances of the text, elements of fabula, and literary conventions. This process usually displays familiar themes. In contrast, the indirect process achieves the theme of a work by relying on implicit and constructed meanings, using strategies such as the concepts of literary theories, formal devices, extracting non-objective motifs, or combining these. The second type of themes, due to their strangeness, must be justified by a critic precisely and for this reason, they display that the critic is aware of his/her strategies.

Extended Abstract
Theme is one of the most current concepts and tools in literary and artistic criticism. Theme and thematic view contribute to the various types and levels of criticism; from the simplest dialogues to professional literary studies and analysis (Scholes, 2018: 22- 23). The effect of the theme can be seen in analytic works in literature and art; for example, the analysis of our everyday dialogues, talking about a movie or novel, introducing a work in social media, and people’s evaluations of a literary work or genre. Also, theme has a central function in academic studies. One of the current issues in academic papers, at least in Persian language and literature, is a direct or indirect discussion of the theme of literary works.
In education, an important part of the knowledge students learn is also the themes of the literary works. It can be said that, even curriculums and courses in Persian language and literature, are based on the categorizing of literary texts drawn from their themes. This view to theme and current discussion about theme is a part of the concept that is called “content knowledge” (Linkon, 2018: 19- 28). Therefore, here we have lost “Strategic knowledge”; a type of knowledge that focuses on the process of obtaining these themes. In other words, among the dense articles, theses, curriculums, and common discussion about themes of literary works, there are very few discussions about how to gain these themes. In this paper, I have tried to achieve this aim. In other words, although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian researchers are more concerned with explication and introduction of the theme of literary works than to discuss the processes, methods and strategies of discovering and understanding the theme This paper, relying on examples of literary and art criticism, introduces two thematising processes: direct and indirect. My aim, in this article, is to discuss about processes and strategies of constructing of theme via readers and critics rather to discuss about the instances of concrete themes.
Some of the theoretical studies about theme deal with definition of this term and its difference between theme and other similar or correlative terms (Parsanasab, 2009; Taghavi & Dehghan 2009; Sami’i Gilani, 2007). Babak Mo’in (2015) also in his article introduces the concept theme in French thematic theorists’ point of view. Because of its reliance on the thermalizing processes, above article is related to my research.
 In this article, I have exploited Bordwell (1989) and his results about theme and interpretation. He introduces current norms and procedures in finding and constructing themes and meanings in the history of film studies.  With regard to the ideas, theories, and definitions of theme, in this article I want to answer these questions: How do we achieve the theme of works? Is a theme an objective matter or subjective one? Is critic’s awareness of the process of making theme affective on the thematic research?  

 

‘Resāle-ye- Irād” written by Mirza Fathali Akhundzadeh, Iranian intellectual of the Qajar period, essentially involves a fictional and critical dialogue between Reza Qoli Khan Hedayat and Akhundzadeh about the historical text of "Rawdhat al-Safāye-Nāseri" and some of its historiographical issues. Akhundzadeh strongly criticizes Hedayat’s approach and method of historiography. In this controversial dialogue, due to the fact that Reza Qholi Khan Hedayat is a poet, the misuse of his poems in the text, is the main topic of this debate.
Extended Abstract
Reza Qolikhan Hedayat, entitled Lalah Bashi, was a thirteenth-century writer, poet, and historian in Iran during the reigns of Mohammad Shah and Nasser al-Din Shah Qajar. "Rawdhat al-Safa-ye-Naseri" is one of the most important histories of Qajar period. This historical book is actually called "Appendices to Rawdhat al-Safa", which is actually written in the following of the book "Rawdha al-Safa" by Khvandmir. ‘Resāle-ye- Irād” written by Mirza Fathali Akhundzadeh, Iranian intellectual of the Qajar period, essentially involves a fictional and critical dialogue between Rezaghili Khan Hedayat and Akhundzadeh about the historical text of "Rawdhat al-Safaye-Naseri" and some of its historiographical issues. Akhundzadeh strongly criticizes Hedayat’s approach and method of historiography. In this controversial dialogue, due to the fact that Reza Qholi Khan Hedayat is a poet, the misuse of his poems in Rodhat Al-Safa Naseri is the main topic of this debate. This controversial dialogue between Akhundzadeh and Hedayat in “Resāley-e Irād” is one of the most important polemical tensions in the history of literary criticism and historiography criticism in Iran. This article will show the internal possibilities of this generic debate in recognizing the foundations of Persian literary criticism and historical historiography criticism.
 

The subject of literary criticism has been of great importance in the subcontinent, and many critics have written criticism on both poetry and prose. Many critics and their works have been introduced or even published, but some are still preserved in manuscript form in various libraries. Generally, the written reviews are in prose, but among the existing works, reviews are also written in poetry, which is interesting in its own way. Sheyda Fathpouri, Munir Lahori and Abdul Baghi Sahbai are among the prominent critics of the subcontinent who have tried to experience criticism in the form of order, which seems to have been remarkably successful. Although the regularity of their criticism has caused some limitations. Despite the very valuable works that have been written in the field of literary criticism in the subcontinent, with the identification and discovery of different and innovative works in this field, the scope of literary criticism in the subcontinent becomes wider and more obvious every day, and it shows that this category is of great importance among writers, scholars and writers of that country have been blessed. In this article, we have first introduced the critical accounts of the poem, and then we have pointed out the motives of some of these critics in writing their criticisms, and then we have examined and analyzed these criticisms.
Extended Abstract
Introduction
Although the knowledge of literary criticism is new and belongs to the last century, but by searching and identifying the past sources, we can see its traces in the ancient works and some writers and critics who professionally dealt with literary criticism. The history of literary criticism in the history of Persian literature has been more or less investigated and books have been written in this field. But what is very important in this context is that this topic enjoyed a lot of prosperity and prestige in the subcontinent, and there were great critics in that land who gave credibility to the topic of literary criticism in Persian literature by writing important works in this context. One of the wonders of literary criticism in the subcontinent is that, in addition to numerous works of criticism, which are written in prose, in a few cases we also come across criticism in verse, which is interesting in its own way. In the subcontinent, some critics have criticized poems or works that have useful points and, in addition to the content of the criticism, are also interesting in terms of structure and appearance.
History of criticism and literary theory of poetry in Persian literature
Literary criticism and theory of poetry in a broad and independent way does not exist in Persian literature. Perhaps some literary debates and controversies in the form of poetry, which has a long history in Persian literature, can be related to the category of criticism to some extent. The most famous of these literary controversies took place between Onsori and Ghazayeri Razi. In addition, some poets have made a general comment about the whole poem, the poetry of other poets, as well as praising their own poems, from a single verse to a complete poem. Even if these can be defined under criticism, they are still completely different from what some critics of the subcontinent have written. The critics of the subcontinent used to criticize poems in a professional manner and pointed out important points in the correction of verses.
Poetry criticism among critics of the subcontinent
As mentioned, some critics of the subcontinent, who are also Persian-speaking poets of that land, have presented their criticism in verse based on their own taste. The story begins when Haji Mohammadjan Qudsi Mashhadi (990-1056 AH), a famous poet of the Indian style, sang an ode in the memory of Imam Reza (PBUH). Sheyda Fathpouri, who was one of the well-known poets of that era, wrote a poetic criticism in the same weight and rhyme of the Qudsi ode and raised objections to some of its verses. After him, Munir Lahori, one of the famous Indian writers, poets and critics, gave a brilliant answer in the same weight and rhyme. Abdul Baqi Sahbai, one of the poets and critics of that period, once again attacked Sheyda with the same weight and rhyme and defended Qudsi. After them, Arzoo wrote the treatise Dad-e Sokhan based on these criticisms and as a "trial" between these critics in prose, and to a large extent he took the side of Qudsi and sometimes Munir. Of course, due to the fact that the critics have restricted themselves to respect the weight and rhyme, in some cases there is a weakness in the verses or filling, but in general they have achieved their purpose and at least they have been able to create a new wave in literary criticism.
Values of systematic criticism format
Perhaps, the main reason for choosing "order" for criticism is a kind of complicity. Because it is very difficult to write a review in verse and in a specific weight and rhyme. In other words, the critics criticized the poem in verse form in order to show off their knowledge and grace to the poets or other scientific rivals. Dealing with poem criticism from another aspect is also noteworthy, and that is the category of defamiliarization. This means that usually the written criticism of an artistic work is usually in prose, but the critics of the subcontinent, like the poets of that land, whose poems we have often witnessed defamiliarization in matters related to the aesthetics of poetry, have welcomed a kind of deconstruction or defamiliarization, which consists of the same criticism is the poem.
The Critics
Sheyda Fathpouri is one of the poets and critics of the 11th century, who is especially famous for his criticism of Qudsi's ode. Sheyda liked the old style in poetry and did not believe in the new style in poetry. He criticized 20 verses of Qudsi's ode in the form of 43 verses.
Munir Lahori (1054-1019) is a well-known poet, writer and critic of the subcontinent who was born in Lahore. Munir was also among the critics who, although he wrote poetry in the "new way" at first, but later changed his style and wrote poetry in the old way. He was one of the fans of the old style, and for this reason, he attacked four Persian-speaking poets of the new style in Siraj Munir and defended several advanced poets. Munir is the first person who responded to Sheyda's criticism of Qudsi and in the form of about 90 verses, he rushed to Sheyda in defense of Qudsi. His criticisms, which in some cases had a sharp and biting tone, were centered on rhetorical and grammatical points, of course Arzoo answered a significant number of them.
Mir Abd al-Baghi Sahbai (died 1094 AH), a poet and writer of the subcontinent, who is less famous than the previous critics. He is also one of Sheyda's critics, but Sahbai's criticism does not have a high analytical power compared to Mounir's and Sheyda's criticisms, as well as Arzoo's, however, new points can also be found in his criticism. Also, the criticism of Sahbai's poems is of great importance in the study of the tradition of literary criticism in the subcontinent.
Arzoo (1169-1099 AH), the most famous critic of the subcontinent, who has many works in various fields of rhetoric, linguistics, tazkira, description of literary texts, etc., has three very important books in the field of literary criticism; Tanbieh al-Ghafilin, Siraj Munir and Dad-e Sokhan said that the subject of the recent treatise is a response to these criticisms of the poem and in a way a defense of Mashhad's sacredness. While quoting these poetic criticisms, Arzoo has tried to answer them in a scientific, precise and fair manner.
The main motivations of Sheyda from Qudsi criticism
The root of Sheyda's criticism can be found in several other cases. One is his poetic taste and style; In such a way that Sheyda, contrary to the common style of his contemporaries, was inclined to the old style and simplicity and moderation of their poetry in terms of the use of metaphors. Another important issue is that Sheyda is the leader of a literary movement in India that believes that the Persian language and literature are not only for Iranians, and that Indian-origin professors of Persian literature are experts in this field and have the right to occupy it. Also, Sheyda believed that Iranians do not believe and pay attention to Indian poets and do not value the poets of this region in terms of poetry and literature. These factors can be seen as an introduction to his enmity with a poet like Qudsi who was Iranian. The majority of Sheyda's criticisms in this criticism are related to lexical, rhetorical and "everyday language" or colloquial issues, and sometimes legal and philosophical issues, which are often not free of mistakes. From this criticism of Sheyda and also the responses of the protestors, it can be seen that his criticisms were not without bias and mostly because of the lack of attention of Iranian poets to him. It is also clear from Arzoo's reviews of Sheyda that, due to Sheyda's strong relationship with the old style and lack of belief in the new style, he is not very familiar with the stylistic characteristics of the poetry of this period, especially in terms of the use of metaphors, or at least he is not interested in this style.
Some axes of critical criticism Sheyda
Sheyda has paid attention to many minor and major issues in his criticism of Qudsi verses. From the lack of meaning in the verse to dealing with legal and philosophical issues. Here we only discuss the main and most important points of Sheyda's criticism of Mashhadi's Qudsi ode: Lack of semantic connection in the structure of holy poetry, ignoring everyday language, failure to pay attention to grammar and language points, incorrect combinations in Qudsi poetry and not having a document and history in using some phrases and combinations.
Conclusion
Poetry criticism in the subcontinent has been successful with all its structural limitations, and critics have presented their criticisms regardless of poetic limitations. Another issue is that by carefully detailing the content of the reviews, it can be concluded that critics have attached more importance to formalism in poetry. If we pay attention to the axes of Sheyda's criticism and other people's answers, we can clearly see this approach to structure and form. Also, based on these reviews, we can see that people like Sheyda and Munir had no belief or interest in the new way or the basics of Indian style, but people like Arzoo and to some extent Sahbai believed and were interested in this style. Another thing is that since the vast majority of written criticisms in the subcontinent are in prose, writing poetry criticism is a kind of norm avoidance and highlighting, which is one of the characteristics of Indian poets in poetry. Another issue is that although compared to the prose criticisms written in the subcontinent, the poetry criticisms have occupied a much smaller volume (perhaps ten percent), but those criticisms cannot be ignored, and certainly in the review of the history of literary criticism in the Persian language and literature, these systematic reviews should also be evaluated.
 

The discipline of literature in the prestigious universities of the world is progressing with up-to-date and practical topics. In the new era, the university has become an entrepreneurial institution that focuses on the production of thought, innovation, idea-centeredness and creativity, the use of interdisciplinary capacities and having thinking in interaction with the world. Meanwhile, the academic field of literature in many advanced universities is trying to address the new approaches of university, a topic that is reflected in the study of literature topics in this university. Nevertheless, these universities continue to seek greater academic legitimacy. The debates that began 150 years ago in areas such as the definition of literature as an academic discipline and the scientific nature of literary research are still ongoing. Stein Haugham Olsen is a professor of English literature and the author of many books and articles in world-renowned journals on the philosophy of literature, literary aesthetics, and so on. In this article, he seeks to examine the evolution of "literary studies" and traces this discussion from the discussions that began in the 1880s at the universities of Oxford and Cambridge on the academic nature of literature and literary criticism to recent decades. Olsen's article emphasizes that literary studies, if it seeks to discover the meaning of literary works, to obtain that meaning in any way with any theory, is ultimately what any good reader can do.
 

Coined by Simon C. Estok, ecophobia is a prominent and new approach to ecocriticism and environmental ethics, mainly defined as irrational and groundless hatred of the natural world. The ecophobic reading investigates unwanted human biases towards the environment based on irrational fear and hatred of bio-environmental manifestations in literary works. Ecophobia originates from the duality of self/other, leading to xenophobia in the shadow of an irrational fear of the other, i.e., a woman, race, or other species, in this Coined by Simon C. Estok, ecophobia is a prominent and new approach to ecocriticism and environmental ethics, mainly defined as irrational and groundless hatred of the natural world. The ecophobic reading investigates unwanted human biases towards the environment based on irrational fear and hatred of bio-environmental manifestations in literary works. Ecophobia originates from the duality of self/other, leading to xenophobia in the shadow of an irrational fear of the other. Naturophobia, misogyny, racism, and speciesism occur in a context of xenophobia, and many human behaviors in the face of nature and other human beings arise from fear, and this xenophobia leads to domineering behaviors. After presenting theoretical foundations, the study sought to explain the ecophobic components in literary works and how to apply ecophobia in literary criticism. Ecophobia reads literary works anew, trying to improve this relationship by analyzing and examining the relationship between humans and nature in an ecophobic context and expressing the origins of these fears. The research result demonstrates that two distinct types of ecophobia in literary works can be identified. By displaying neglected environmental fears, those works can play a significant role in correcting human relationships with the environment and making us sensitive to our behavior with the Earth.
Extended Abstract
Coined by Simon C. Estok, ecophobia is a prominent and new approach to ecocriticism and environmental ethics, mainly defined as irrational and groundless hatred of the natural world. The ecophobic reading investigates unwanted human biases towards the environment based on irrational fear and hatred of bio-environmental manifestations in literary works. Ecophobia originates from the duality of self/other, leading to xenophobia in the shadow of an irrational fear of the other, i.e., a woman, race, or other species, i.e., nature. Naturophobia, misogyny, racism, and speciesism occur in the context of xenophobia, and many human behaviors in the face of nature and other human beings arise from fear, and this xenophobia leads to domineering behaviors. After presenting theoretical foundations, the study sought to explain the ecophobic components in literary works and how to apply ecophobia in literary criticism. Ecophobia reads literary works anew, trying to improve this relationship by analyzing and examining the relationship between humans and nature in an ecophobic context and expressing the origins of these fears. The research result demonstrates that two distinct types of ecophobia in literary works can be identified. The first type determines a mythological and historical attitude based on the fears and worries of the past about nature and its phenomena. Expanding our knowledge, understanding, and facilities could have eliminated most fears and worries of phenomena such as earthquakes, floods, storms, droughts, darkness, predatory animals, and even natural changes in the human body, such as illness and aging. Thus, this criticism can bring these fears from our collective unconscious to the level of consciousness and even replace ecophilia with ecophobia in that context. The second type identifies the fear and worries that literature creates in us with all its imaginative and rhetorical capacity to warn about the dangerous phenomena and processes that quietly and secretly take shape and make us aware of the present and future environmental dangers. Such works can play a significant role in correcting the relationship between humans and the environment by showing neglected environmental fears such as water pollution, waste accumulation, nuclear contamination, and species extinction and make us sensitive to our actions with the Earth. Altogether, as the writers try to remove the baseless and unnecessary environmental fears in today's world, enlightening and giving the necessary warnings about the upcoming dangers in terms of human interference in nature, in some of their literary works, they depict our love and need for the nature. Accordingly, various artistic expressions of ecophilia in literary works can create a caring and eco-friendly attitude in the reader by using imagination and emotion effectively. Ecophobic criticism leads to identifying the emotional ethics of texts in terms of what values of nature the text conveys to the reader and what view and feeling it establishes in him/her towards nature phenomena.