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Bahaoulvalad's Maaref is regarded as Farsi prominent and exquisite mystical prose due to its unique and exclusive style of rhetoric for description of its author’s spiritual worlds and mystic conditions. This work, including Bahaoulvalad's notes taken when loneliness and also his happiness and spiritual conditions book, enjoys some features and aspects  which can not be expressed in the ancient poetical context and made its being exactly studied from modern literature viewpoints including formalism, more logic and acceptable. From formalists viewpoint, explicitness and cordiality in expressing the spiritual painful bonds and heartfelt secrets, poetical ambiguity and linguistic and semantic anti-mannerism, animation of spiritual explorations and imaginations, avoiding use of scientific and formal language, taking notes inadvertently without preplanning, immediate speech alternation and digression, new and innovative images are all the techniques defamiliarizing the ordinary and standard language and resulted in poeticization of the work language. Maُُaref Aesthetics Dimensions are studied from this viewpoint throughout the study.

 

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In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too Parody is one of the complex and secondary literary genres that represents intertexuality.The relation between parody and deconstruction is connected to the way they act. Parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.

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SHAH BAJI lyric poem (MANZUMEH SHAH BAJI) is one of the most beautiful lyric poems of native literature of Mazandaran dated back to the late Qajar period and the first Pahlavi. The poem was composed by Mullah Khan Jan Heydari, a cattle rancher of LAFOUR (located on SHIRGAH, SAVADKOOH County). In terms of prosodic rhythmic structure, the poem can be read both in Hazaj or Mutaqarab meters. It depends on the narrators to decide to read the poem in any rhythm. Using formalist analysis, this study aims to find out how the components of formalism have been reflected in this lyric poem? The research results indicate that, among different kinds of deviations, the semantic deviation and its subtypes and time deviation have been more frequent than the others. Among different meters, lexical rhythm and its outstanding component namely Parallel Rhyming Prose (SAJ’ MOTEVAZI) are more seen in poem. The frequent repetition of long vowel /a:/ and the consonants like "r" , "l" , "m" and "n" in the poem, can be due to the more frequent use of these vowels and consonants in Mazandarani dialect to make rhymes.

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Problem: Structure is a term that creates meaning for the framework of formation of different shapes and is able to create targeted condition for formation and even interference for shapes.
Target: It is to be noted that this process of formation of shapes is based on defined module and this module is regarded as infrastructure for layout of shapes and is accompanied with social exchanges, activities and equilibrium; since, if a space has great amount of quality and eligibility, it is able to attract more amount of people and turned into a place for gathering social groups and collecting social groups based on different layers of social classes is effective on geometrical structure of a complex and is also regarded as basis for formation of merged geometrical principles in general structure of a shape; since, if this principle is not correctly regarded as equilibrium, the motion system of different classes are not directed toward correct path and finally leads to interference of motion layer, lack of eligibility and localization of space.
Method: Thus, it is attempted through benefiting from interpretative and historical nature to geometrically analyze this set and describe its elementary structure as intact form and then by benefiting from deductive reasoning to describe details of this set from viewpoint of general structure and due to analytical tables, it is possible to obtain better understanding from relationship of geometrical system with structure of set and in continuation of this process, through raising hypothesis (probably formalism by Klaus Herdeg).
Result: It is possible to obtain conformity of geometrical pattern originated from structure of this set and recognizing groups obtained from conformity of motor structure of layers in Naghshe Jahan square that is effective on political and economic issues of this set.

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One of the most important Turkish tribe in Iran is Qashqai. This tribe has had its own culture, literature and language. It seems that in the process of modernization and Homogenization in Iran, this culture especially its literature is vanishing. Then, it is necessary to do some researches to protect it from being destroyed. Qashqai tribe has rich oral literature and culture whose stories are a part of it. Since up to now, no study with structural approach has been performed on these stories; we have examined ten stories as case study. The Methodology of the study is based on morphological model of Vladimir Propp, Russian formalist researcher. For this purpose, at first, all stories are analyzed and then each story’s model is mentioned with combination of their motions. This study shows that Qashqai tribe’s stories has the ability of structural study and to great extent is compatible with Iranian stories.

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«نظریه عام کلیشه‌ها» یکی از نگاه‌های صورت‌گرایانه قرن بیستم به ادبیات عامیانه است که به تأثیر از مطالعات عامیانه، عبارت‌شناسی و واژگان‌شناسی صورت گرفت. جی. ال. پرمیاکوف زبان‌شناس و نویسنده روسی، با نوشتن کتاب از مثل تا قصه‌های عامیانه (1968) چارچوب نظری این نظریه را بنیان نهاد و با بررسی عناصر بازتولیدی زبان از قبیل ضرب المثل‌ها، چیستان، کنایات، قصه‌ها، و هرگونه عبارت قالبی و فرمولوار زبان در تقابل با متون تولیدی و خلاق زبان، نظریه عام کلیشه‌ها را معرفی نمود. پرمیاکوف و برخی هم‌نظران وی برخلاف گروهی که عقیده داشتند در آفرینش‌های ادبی باید از عناصر کلیشه‌ای زبان پرهیز شود و چندان نظر مساعدی به‌این‌گونه عبارات نداشتند، تلاش کردند که علت وجودی کلیشه‌ها و فواید ساختار آن را توجیه کنند. و نشان دهند که کلیشه‌ها صرفاً مشتی عبارات دست‌دوم، کهنه و پیش‌پا افتاده نیست. پرمیاکوف از منظر زبان‌شناسی، نظریه عام کلیشه‌ها را ارائه می‌کند و حدود طرح کلی نظریه‌اش از ضرب‌المثل‌ها (کوچکترین واحد ادبیات عامیانه) تا افسانه‌ها (بزرگترین واحد ادبیات عامیانه) را شامل می‌شود و بیشتر به دنبال تحلیل ساختاری واحد‌های ادبیات عامیانه است. با استناد به عنوان فرعی این کتاب: «یادداشت‌هایی درباره نظریه عام کلیشه‌ها» می‌توان ادعا نمود که این نظریه هنوز کامل نیست و پرمیاکوف بیشتر به دنبال طرح مقدماتی این نظریه بوده‌‌است. هدف ما از ارائه این نوشته، معرفی این نظریه و جایگاه آن در نقد ادبی است و برای این منظور، تلقی زبان‌شناسان و منتقدان ادبی را از منظر محققان شعر شفاهی و نیز صورتگرایان درباره ادبیات عامیانه جستجو نموده‌ا‌یم.

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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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ارمغان نظریه‌های ادبی تحلیل نظام‌مند ماهیّت ادبیات است. نخستین مرحله از تکامل فرمالیسم روسی «فرمالیسم مکانیکی» یا «فرمالیسم تقلیل‌گرایی» نام دارد. این نظریه در ژرف‌ساخت اندیشگانی خود برای تبیین ماهیت ادبیات از اسم‌انگاشت «ادبیات ماشین است» بهره می‌برد. هر چند تبیین ماهیّت ادبیات از طریق استعارۀ ماشین زمینۀ بروز خلاقیت و تسهیل در توضیح و تبیین نظریه را برای نظریه‌پرداز فراهم می‌کند ولی پژوهش‌های معاصر نشان می‌دهد که استعاره‌ها فرایند ادارکی نظریه‌پرداز و در نتیجه فرایند مطالعۀ موضوع و فرمول‌بندی نهایی نظریۀ را نیز تحت تأثیر قرار می‌دهند و به نوبۀ خود در بحث انتقال نظریۀ ادبی به سایر فرهنگ‌ها، کژکارکردهایی نیز خواهند داشت. چرا که ادراک هستی‌شناختی، معرفت‌شناختی و روش‌شناختی همۀ فرهنگ‌ها از حوزۀ مفهومی استعارۀ «ماشین» یکسان نیست. ازین‌رو، شاهد ظهور نوعی مطالعات فرمالیستی در زبان‌های مقصد، مانند زبان فارسی هستیم که تلقی خاصی از روش‌شناسی فرمالیستی دارند. بنابراین این نوشتار در صدد است با رویکرد توصیفی‌ ـ تحلیلی کارکردها و کژکارکردهای استعارۀ ماشین را در تبیین ماهیت اثر ادبی در فرایند نظریه‌پردازی فرمالیسم مکانیکی و نیز انتقال آن بررسی کند. برای این منظور ضمن بررسی ریشه‌های فکری و اندیشگانی اندیشۀ جهان ماشینی به نقش تقلیل‌گرایی دکارتی در شکل‌گیری سطوح مختلف نظریۀ فرمالیستی می‌پردازیم و سپس بر پایۀ علل اربعۀ ارستویی به مقایسۀ ماشین و ادبیات می‌پردازیم و تفاوت‌های ادراکی «ماشین» را در زبان‌های روسی، انگلیسی و فارسی به شکل مختصر بررسی می‌کنیم. بررسی‌ها نشان می‌دهد که تبیین ماهیت ادبیات بر مبنای استعارۀ مکانیکی، در مرحلۀ نظریه‌پردازی موجب شده است نظریه‌پرداز در فرمول‌بندی نظریه برای رسیدن به یک روش‌شناسی خلاق و سازگار با اثر ادبی ناکام بماند، و در مرحلۀ انتقال نیز تفسیر و کاربست آن با نوعی بدفهمی مواجه شود.

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This essay aims to explore the drawbacks and fundamental deficiencies of studies that claim to apply or discuss the concept of defamiliarization in the realm of Persian language through a critical analysis of published academic research articles. A review of 30 articles published in prestigious Iranian journals during the period of 1996 to 2016 illustrates that many researchers in Iran have serious misperceptions regarding the concept of defamiliarization.
These common misconceptions in appreciation and application of the term defamiliarization can be categorized as follows: 1) disregard for the methodological principles of the Russians formalists; 2) presentation of concocted definitions of defamiliarization, and 3) confusion of the concept of defamiliarization with similar terms, in particular reducing it to the basic and traditional principles of rhetoric. On the one hand, these drawbacks have given rise to a plethora of studies that intend to examine truisms and on the other hand, it has reduced this concept to a mere embellishment in academic circles. As a consequence, a fertile ground has been prepared for researchers to churn out articles that disseminate analogous misconceptions in this area.

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 Mojahed Gholami, PH.D.
Abstract
 
This article, by taking into consideration novel theories on poetry, especially the formalist standpoints, intends to study the efficiency of what is referred to as the defects of eloquence in the contemporary analysis of Farsi poetry. This process has taken place in two generalized and detailed styles. In the generalized process, the issue of dominating element in Russian formalism has been taken into account and interaction has been made between the theories presented on the defects of eloquence in Farsi books. Also, the shortcomings of eloquence up until the end of period of promotion of Hindi styles have been classified and researched in the three domains of compatibility, lack of compatibility and regression. The analysis of this subject leads us to conclude that in the era of compatibility, concurrent with the development of Khorasani style, the views presented on the defects of poems were in line with Farsi poetry. However, this rate of compatibility gradually declined. In the incompatibility era, which was concurrent with the  promotion of Hindi style; the social, literary, and aesthetic needs of Farsi language wiped out the originality of the analysis of contemporary poetry in based on consideration of defects of traditional eloquence.
In the detailed approach, the views of formalists on establishment of unity in language via reduction and addition of a number of norms seem inefficient in identification of defects of eloquence. Based on the analysis of this topic, it was concluded that in the formalist approach and in dealing with modern poetry, the cases taken into consideration as the defects of poetry actually distinguish literary language from ordinary language and ultimately lead to creation of poems.
 

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Anti-war literature is a subset of peace literature. Peace is portrayed in both negative and positive ways. Positive peace is defined on the basis of the concept of moral cosmopolitanism, while negative peace is in contrast to the concept of war. Accordingly, the cosmopolitan stories represent the utopia and the anti-war stories represent the ruined city. The data of this research are picture books with anti-war stories of age groups B and C. This article was written using the analytical-descriptive method and based on the formalist approach to answer how common devices (common formal patterns) are in children's anti-war stories. The result of this research shows that anti-war stories are divided into three categories according to the dominant element of the story based on the part of the triple process of beginning, middle and end of the war: beginning-centered, middle-centered and end-centered. Each of these three categories is further divided into subcategories based on the devices they use. The acceptance of the emerging genre of anti-war literature and the lack of sufficient internal and external research on peace literature for children necessitates research. This article is the first to categorize children's anti-war literature using a formalist approach.
Introduction
Peace in children's literature is presented in two ways: positive and negative. Positive peace means cosmopolitanism and coexistence while respecting each other's differences. "Negative peace is the absence of violence or war" (Galtung, 1969).
In this article, anti-war stories are not stories based on mild and minor violence (such as ridicule or rejection), but the content of anti-war stories is based on the display of extreme violence (such as large-scale wars) with collective and physical injuries. Indeed, such stories represent the beauty of peace by showing the ugliness of war.
The novelty of the present study is that it analyzes anti-war stories in children's literature and introduces a new classification. The classification of the forthcoming article not only helps the researchers of comparative literature, but also opens a window to peace literature for the authors of children's literature.
Background
Although the anti-war literature in the world has received the attention of researchers; But whether in Iran or abroad, there is still a lack of peace research in the field of children's literature.
"Journal of Peace Research" abbreviated as JPR is an interdisciplinary monthly magazine that has been publishing research related to peace since 1964 (especially articles related to the causes of violence and conflict solutions). Among the peace research books, we can mention War no more: three centuries of American antiwar and peace writing (2016, Rosenwald). The said book is a collection of articles, stories, songs, memories and speeches that convey the message of anti-war and peace. Chapter 7 of War and American Literature (2021, Rosenwald); With the title "About anti-war literature", this author has also discussed American anti-war literature.
In Iran, unlike the literature of holy defense, not much research has been done on anti-war literature. "Exploring Anti- war stories in the holly defense literature" (J′afariyan, 2014) is one of the few researches that have been conducted in this field. The mentioned research deals with the types of characters, anxiety disorders, political-social criticisms and nostalgia in Iranian anti-war stories.
Aims, significance, and questions
Some people consider anti-war literature to be imported. According to them, this genre is the concern of pacifist writers from countries for whom war recalls the crimes of the World War or the 20-year war in Vietnam and the like. At the same time, Iranian writers associate war with defense against the aggression of the Baathist regime in Iraq and tend to write stable literature. What confirms the necessity of this research is the fact that while writers once praised stability due to an imposed war, some of them now no longer see proxy wars as an inevitable necessity. Therefore, whether right or wrong, anti-war literature has become part of the reality of this country's literature. The research questions are:
1- Corresponding to the three stages of the war process (beginning, middle and end), what are the types of children's anti-war stories in terms of the dominant element?
2- According to the formalist approach, in each of the above-mentioned types of stories, the foregrounding  of the dominant element is based on what devices (formations)?
3- In children's anti-war stories, which devices are consistent with Baudrillard's simulation theory?

Research Methodology
The research method is analytical-descriptive, and the sample group is selected by the "purposive sampling" method. To complete the sample, the method of "data saturation" was used. Authored and translated books titled "Peace and Friendship" and one hundred and thirty-five picture and illustrated book titles for age groups "B" and "C" were collected from the Iranian publishing market through library research. Stories that had an explicit anti-war theme were separated from them. The sample size resulting from saturation consists of twenty-four works, which are cited below and in the final table of the article.
This article's approach to studying children's anti-war stories is the formalist approach. The goal of formalism is to discover the form of the work. The key concepts of the formalist approach are: Form, devices, dominant element, foregrounding, defamiliarization.
The war process has three parts "beginning, middle and end". Depending on which part of the threefold process of elemental war predominates, war stories are divided into three categories: initiation-oriented, middle-oriented, and ending-oriented. Each of these threefold categories is classified into sub-categories based on the devices and formalistic arrangements used in the work, and then a detailed tree diagram of each of the above threefold categories is displayed.
Conclusion
Considering the age conditions and the cognitive level of the children, the visual stories of age group "B" and "C" are very brief, single-core, and single-centered and do not have multiple focus. In other words, these stories explicitly convey only one message (no complex and multiple messages) by using highlighting. Therefore, the dominant element in these stories was clearly emphasized in a convergent manner through devices such as the title of the book, the naming of the characters, the phonetic and semantic forms of the descriptions and the images attached to the text. Based on which dominant element is formed by highlighting which part of the three stages of the war process, anti-war visual stories are divided into three categories: initiation-oriented, middle-oriented, and ending-oriented. In this context, this article, while presenting the devices related to each of the three types of dominant elements mentioned above, shows that despite the claims of some critics who consider the formalist approach to be a mechanical one and lacking a dynamic ability to critique and analyze contemporary literature, formalism, like any other approach, can still be effective in criticism and draw the patterns of similarities and formal differences of stories such as the anti-war stories in children's literature by relying on the dominant element and highlighting devices.
References
Galtung, Johan. (1969). Violence, Peace, and Peace Research. The Journal of Peace Research. 6(3). Pp: 167- 191.
J′afariyan, A. (2014). Exploring Anti- war stories in the holly defense literature. MA degree in the Persian Language and Literature. Shahrekord University: Faculty of Literary and Humanities. [Supervisor: J. Safari & visor: E. Sadeghi] [in Persian].
Rosenwald, Lawrence. (2016). War no more: three centuries of American antiwar and peace writing. New Yurk: Liberary of America. (ISBN: ‎ 978-1598534733).
Rosenwald, Lawrence. (2021). "On Anti-war Literature". In War and American Literature. Jennifer. Haytock (Ed.). United Kingdom: Cambridge University Press. Pp: 103- 118. (DOI: https://doi.org/10.1017/9781108654883.010).
 

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The companies’ registration system is considered as the beginning of the emergence of modern company law in legal systems and its evolution has a fundamental role in the evolution and development of this legal field. Western systems have realized this fundamental role, and for this reason, today the companies’ registration mechanism offers the most complete function to prove the identity and decelerate the status of the companies. However, in Iranian law, the companies’ registration system should be considered a failed system that contains baseless formalities and lacks the necessary efficiency. A subject that according to the unity and integration of the modern company law in the framework of the need for the same regulations in different legal systems, should be considered in the difference between the interpretations of the doctrine of company law in Iranian and Western law. Based on this, the question arises as to what is the relationship between the interpretations of the doctrine of company law in the West and the development of the registration system on the one hand and on the other hand the interpretations of the doctrine of corporate law in Iran and the weakness of the registration system. This research in the framework of library information collection method and descriptive-analytical research method, by proposing three theories of Formalism, The reality of legal personality and Company enterprise, provides interpretations of them in the Western and Iranian company law and seeks to prove a direct relationship between these interpretations and the type of realized system of companies registration - from the perspective of strength and weakness - in Western and Iranian legal systems. Finally, suggestions have been made to counter these interpretations within the framework of the rules and regulations in Iranian law.