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This paper investigates the two discursive systems of performance and tension in the poem "Katibeh" of “Akhavan Sales”. The performance-oriented narrative system is formed based on the external lake with the focus on "performance". While the tension system originates from an inner-emotional lake and has an interactive relationship with the performer’s knowledge of existence. Due to having the content of narrative discourse," Katibeh " includes value-oriented performance and tensions, in which, the dominant systems are capable to investigate semiotics. This research aims at showing the fundamental aspect of meaning making of this poem and how the meaning appears in theinitial comprehension of the discourse among the unique signs.
For this purpose, the research has determined the types of discourse system such as performance system, tense-emotional system and the techniques of concept elaboration, connection with contacts message sending in the poem "Katibeh" using a descriptive-analytical method. The results of the research indicate that the teller has succeeded in producing the intended mental meaning -philosophical despair and being defeated by destiny- and conveying it to the reader with the artistic arrangement of the parts of the language. When the subject is faced with the "Katibeh" he becomes tense with himself, and due to his inability to get out of this tension and realize the secret of the "Katibeh", he finds almost all performances impossible under high emotional pressure.

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In this paper, we researched about poetry “Katibe” (inscription) according to the theory of morphology. For this purpose, we defined the theory of morphology. Then, according to this theory, this poem has been analyzed. This poem is divided into roles, personalities and movements. Katibeh (Inscription) is a narrative poem that has dramatic structure. In this poem, the reader sees the story from the poet's point of view. There are twenty-three roles in the poem. Characters in these poems are divided into two categories: Human and natural. In this poem, five characters are doing things and there are three movements.       

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    This study was conducted to analyze conceptual mappings in two Akhavan Sales’s poems, based on cognitive poetic approach according to the theoretical framework of Freeman (2000), Fauconnier (2002) and turner (2002). In the cognitive poetic approach, analysis of literary works is possible by cognitive linguistic methods. Some of these strategies which make possible the analysis of total work’s structure and type of languages units arrangement  are conceptual, relational or system mappings. In the cognitive poetic approach, literary work’s context has fundamental role in making signification and the analysis are based on three component: text, author and reader. In this time, we read two poems of Akhavan Sales based on this theory. The question of this study is how interpretative levels of Akhavan poetry in the framework of cognitive poetic approach explain different aspects of his thought structurally and conceptually speaking? Investigation of two coherent poems of Akhavan Sales showed that which factors cause to viability of poetry and its strength, and how the poetry structure can take part of author’s thought world construction. The results of style investigation of Akhavan with cognitive poetic view showed that the presence of relation between structure and concept, and also concrete conceptual entire in the frame of mental pattern in poetry can be considered as viability factors of his works.  

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"The Story of “Shahre Sangestan’’ is one of the most famous poems of Mehdi Akhavan Sales. The story turns around the narration of a city where all its inhabitants have changed into stone and are looking for a way to save them. Among the characters in this poem are two pigeons who know the story of Shahriyar and give him a way to free himself. In this research, by content analysis method, the origin of the "loss of consciousness of the bird" in Persian and folk tales (370 folk tales and one hundred love collection) was studied. Taking into consideration these cases, the authors have tried to divide this content into three categories: 1. the revealed history of the hero according to bird, 2. Recognizing the magic properties of the tree according to bird; 3. Girl’s transformation to tree whose first structure is closer to Akhavan's poetry. There are examples similar to Akhavan's narrative, especially in popular narratives that can provide a clear background for the reconstruction of Akhavan's poetry in the story of the "Sangestan tale". Although two examples of this content have been reconstructed in Persian antique and official literature; but the occult’s function of bird in "Sangestan tale" is more similar to folk tales than other functions and its frequency is higher in folk tales. Given the fact that Akhavan shows his interest to folk literature, his borrowing in the article entitled “Shahre Sangestan ", which is the basis of this article, is more acceptable.
 

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Around the 1950s and the publication of Jakobson's works on structuralist linguistics, Russian formalists innovated in the field of structural analysis of literary texts. Jakobson’s theory of structuralism has its roots in Husserl and Saussure's discussion; he also separates literary text from the context and the conditions for its creation, and examines it within the text. One of the most prominent manifestations of literary text is poetry; according to Jakobson, poetry language is a language that speaks of a special experimental and semantic construct and its form is inseparable from its meaning. In fact, the method of studying the poetry language is a method of linguistic studies; therefore, in poetry, we study phonological, lexical, syntactic and semantic processes; because poetic language is the language of indirect, mysterious and ambiguous messages. In fact, structuralist critique considers literary texts to be a set of linguistic phenomena that distinguish them from any other text. The processes that make this distinction are recognizable at all levels (phonological, syntactic, and lexical). In this study, we rely on Jakobson's work to examine a poem of Mehdi Akhavan Sales called “A night’s story” . We know that the study of poetry entails mental effort and the search for concepts that the poet, consciously or unconsciously, has included in his literary creation; in the same vein, structuralist analysis helps us to have a careful reading of the text, and to reflect on the form and the format of poem with more delicacy to reach the hidden semantic network of poetry. In fact, the purpose of this study is to answer questions such as how linguistic functions, in the form of the geometric structure of poetry, serve to transfer the concepts better and how does the system of words, behind its superficial structures, include deep concepts appropriate to the space and the main theme of poetry? Structural analysis is a tool that shows that we should not only suffice the initial concept that derives from the text. Since the purpose of the structural analysis is to discover the hidden system and the deep relationship of concepts through the communication of words in a text, this study shows us that in this poem Akhavan has been able to express the concepts of sadness and poverty in a clear and transparent structure. The transparency of the images and the unpredictability of its description are not hidden from the reader's sight. Although this poem is written in the form of a new poem, it has the meter and rhyme, and even these meter and rhyme have added to its richness. Despite the lack of uniformity, the concepts are equally distributed. This poem is also very phonetically rich, and the phonemes emphasize characters and concepts. Finally, it should be acknowledged that Akhavan has been very successful in using words and phrases and while maintaining the beauty of poetry and observing the rules of versification, he has taken advantage of their ability to emphasize the concept of poem and the transfer of implicit concepts. Thus, by examining phonological, syntactic, lexical and semantic processes, we have shown how the system of words has led to the emergence of hidden layers of poem that have been effective in the creation of beauty, and so we have come to discover the semantic network of poem.

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Heritage is one of the most famous poem of Mehdi Akhavān-Sāles where the poet has tried to establish a coherent relationship between form and content. In this study, using an analytic –descriptive research methodology, the author has investigated the elements of repetition, cohesion and narration in order to explain the functions of existent relations on structural elements which construct overall signification of this poem. This study shows the structural elements of this poem and its aesthetic aspects. According to results, in this poem, poet has paid special attention to structure, what makes the poem formally coherent. The use of structural relationships like repetition, cohesion and narration besides magnificent lexical selection at both levels of syntagmatic and paradigmatic axis makes this poem a successful examples of contemporary poem. 

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The nihilistic transition in Akhavan's poetry is the main focus of this research. Akhavan's poetry, with its modern philosophical background, contains profound meanings that make it worthy of analysis beyond the ordinary. One of the most obvious of these meanings is the dialectic of hope and despair. Akhavan's acquaintance with the ideas of modern Europe, like for instance, the philosophical ideas of Friedrich Nietzsche, led us to analyze the tendencies of the nihilistic transition of his poetry considering Nietzsche's "transition from passive nihilism to active nihilism”. Upon analysis it became clear that Akhavan's poetic thought reflects Nietzschean nihilism, as it can be traced in his views such as denying the metaphysical tendency and relying on the human will of elitism, specific views of morality, becoming, and also eternal return, considered as the way to create the superman. Thus, the results of the research showed that Akhavan's poetry, seemingly is a reflection of a kind of passive imagery. However, with a closer look, it became clear that his poems have specific formal and semantic features based on which the emotion of despair and nihilistic thought became active rather than being passive. The method of the current study was qualitative and the approach to analysis was a philosophical critique approach and it also adopted a descriptive approach.
Introduction
One of the dominant themes of contemporary Persian poetry is the dialectic of "hope" and "despair", which, above all, is the result of the socio-political factors of the age, which sometimes lead to specific philosophical insights. One of the contemporary poets of Persian is Mehdi Akhavan Sales, whose poetry is often associated with socio-political themes, but after a while, his political grief and national ideal moved towards philosophical grief and a genuine human ideal which by taking ontological questions, finally confronts his poetry with a nihilistic vision. Part of this insight is the result of the Akhavan's acquaintance with the philosophical ideas of Nietzsche (1844-1900) (see: Akhavan Sales, 1981: 146-145; Akhavan Sales, 1990: 337, 89, 40). In this regard, Nietzsche seeks to unload human knowledge from mere rationalism and replace it with emotions and feelings. He spoke in the language of life and comprehensively acknowledged life through “the will to power" and the belief in "becoming" and "eternal return" in order to re-evaluate the values ​ of the superhuman. Like Nietzsche, Akhavan separates his path from its contemporaries.
Theoretical Background
 Asadollahi and Fathi (2020), in an article, examining the types of Nietzschean nihilism in Forough Farrokhzad's poetry and analyzing the tendencies of his poetry, have acknowledged life in its specific nihilistic transition. The difference between this research and the present article expresses the different poetic thought and behavior of contemporary Persian poets with a desperate context and the nihilistic culture of their time. Mousavi and Homayoun (2009) have also investigated Nietzsche's passive absurdity in the Blind Owl. Given the theoretical foundations of Nietzschean nihilism, the authors have shown that the narrator in this work, despite much effort, is finally unable to free himself from passive nihilism and to change to active nihilism unlike Zoroaster Nietzsche.
Objectives and Questions
 The main objective of the current study is denying the continuity of absolute passive nihilism and proving the organic flow of general nihilism in Akhavan's poetry - which, like Nietzsche's system of nihilism, begins with passive nihilism but ends with active nihilism. We call this approach the "nihilistic transition" in Akhavan's poetry. Therefore, this article intends to answer the following question: What are the methods or tendencies of Akhavan's poetry in acknowledging life in the approach of Nietzschean nihilism and how do they manifest themselves?
Analysis and Discussion
In general, denial and despair are the major themes in Akhavan’s poetry. However, one can also detect a stability in his thoughts. Both of these contradicting views shape his worldview (Mokhtari, 2000: 458 - 459). Thus, although in most of Akhavan's poems a concept of futility can be seen, he also embraces life:
Whatever you want to do, you know yourself / if it is useless, or whatever it is, how many and why, / this is and there is no other./ Death says: Hmm! How useless! / Life says: But you have to live again, / you have to live, / you have to live! ... .” (Akhavan, 1991: 178)
In summary, the transition from passive nihilism to active one can be traced in these themes: Akhavan's poetic thought and style in dealing with metaphysics, the metaphorical truth in the Akhavan's view on destiny, and the manifestations of becoming and eternal return in his poetry.
 
References
Akhavan Sales, Mehdi (1981). From this Avesta, fifth edition, Tehran: Morvarid.
Akhavan Sales, Mehdi (1990). Innovations and the gift and meeting of Nima Yoshij, second edition, Tehran: Bozorgmehr.
Akhavan Sales, Mehdi (1991). In the small autumn yard in prison; Life says but you have to live ..; Hell but cold, Tehran: Bozorgmehr.
Assadollahi, Khodabakhsh and Chiman Fathi (2020). "Comparative analysis of Forough Farrokhzad's poetry and Nietzschean nihilism". Research of contemporary literature of world. No.1.pp. 29-60.
Mokhtari, Mohammad (2000). Man in Contemporary Poetry or Understanding the Presence of the Other, Tehran: Toos.
Mousavi, Seyed Kazem and Fatemeh Homayoun (2009). "Passive nonsense in the blind owl." Journal of Literary Criticism. No. 8. pp. 111-139.

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Mehdi Akhavan-Sales is one of the most famous Persian Contemporary poets. His poetry has undergone significant changes over time. After he turned into Nima'i poetry, and after the dramatic climax manifested in Az In Avesta, he gradually declined in the next collections. Given the high status of his poetry, there must have been important factors in this artistic decline. The present study has turned to seek the life and poetry of Akhavan-Sales in order to find these factors with the approach of "external-based historical criticism" and by stating that there is a reciprocal link between the works and the cultural and social situation of the historical period of their creation. Therefore, The environmenal issues and factors that have affected the spirit and emotions of Akhavan have caused his poetry to change in different dimensions, under the title of “contextual factors” and as a result of which, contextual factors emerging in Akhavan's poetry has led to declination of his poetry. The titles of the “textual factors” are divided and examined. In the end, it is clear that the environmental conditions that arise in the life of Akhavan after this Avesta, shows that he does not have the necessary motivation and power to compose poems equal to the poems of this collection with all his skills and mastery.
 
 

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Text annotation has been one of the scientific and literary traditions of Muslims. Annotation has long been a common method in the development of scientific and literary thought in the field of Iranian culture, both by the author himself and by the author's students or critics. Text annotation accelerated from the eighth century AH and in the Qajar era, annotation on jurisprudential texts became common in seminaries. Annotation on contemporary poetry is a strange and uncommon practice that has little history in contemporary Persian literature. Mehdi Akhavan Sales is a prolific and rare poet in this field due to his talent, vast studies, upbringing in the cultural sphere (domain) of Khorasan and familiarity with Persian and Arabic literary texts. He has written various, humorous, informative and delicate Annotations on his poetry. According to this research, the main reason for this is to demystify. This research has been done by an analytical-descriptive method and seeks to find the reasons for the excessive tendency of Mehdi Akhavan Sales to the tradition of self-annotation.
 

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The life experience of Iranian man in the transition period shows that, despite his efforts, he is still unable to fully understand the requirements of the modern world and is constantly hesitating between the two traditional and modern worlds. The feedback of this problem is profoundly obvious in contemporary culture, so that it caused an incongruity in our history and culture. Incongruity doesn’t mean the existence of different and heterogeneous elements together, but the simultaneous presence asynchronous things. historical-cultural incongruity is evident in contemporary poetry as one of the basics of society’s culture, especially the poetry of Akhavan, one of the contemporary modern poets. This descriptive- analytical article attempts to reveal the reasons and bases of historical-cultural incongruity in contemporary poetry and its manifestation in Akhavan’s poems and exploring the historical experience of modernity in Iran in the meantime. This survey shows that Akhavan’s poem contains incongruities in three domains, including, form and content, language and format. It means that the form of poetry is modern but it’s content, instead of representing modern values, similar to European critics of modernity, criticizes west and it’s values. Furthermore, the usage of old language beside new one and concurrent use of old formats of Persian poetry and Nima’i poetry, is an indicator of incongruity in Akhavan’s poems.

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 In this research, an attempt has been made to study the short story "The demon possessed  Man" written by Mehdi Akhavan-e-Sales in a descriptive-analytical manner from the perspective of his pioneering in writing a modern poetic short story. The subject of this story is the author's critique of the situation of the bewildered contemporary intellectual (urban class) in society. The result shows that the author, using Impressionist language, has acted in drawing the mental states of the pivotal person in such a way that the plot of the story is out of linear mode, and regardless of the events and the reasons for their formation, it is structural. Found minimalist. Of course, this model has been left out of the ancient structures of Iranian fiction based on the travel model. Hence, the central figure in his story has replaced a particular intellectual mood before he became important as an actor in the narrative.
 

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One type of modern short story is the modern poetic short story, which, especially by breaking the previous norms of storytelling in the field of structure, content and characterization, engages the audience with a vague and deep perception and the result is Perception is like poetry. In this research, an attempt has been made to study the short story "The demon possessed  Man" written by Mehdi Akhavan-e-Sales in a descriptive-analytical manner from the perspective of his pioneering in writing a modern poetic short story. The subject of this story is the author's critique of the situation of the bewildered contemporary intellectual (urban class) in society. The result shows that the author, using Impressionist language, has acted in drawing the mental states of the pivotal person in such a way that the plot of the story is out of linear mode, and regardless of the events and the reasons for their formation, it is structural. Found minimalist. Of course, this model has been left out of the ancient structures of Iranian fiction based on the travel model. Hence, the central figure in his story has replaced a particular intellectual mood before he became important as an actor in the narrative.