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Nations categorize fictions differently. In the Persian literature, tales and epistolary writings can be considered as fiction while in the European literature, fiction only includes certain styles according to their modern definitions.
In this article, the author differentiates between the modern age and the contemporary era. She divides the contemporary and modern age literature into seven phases in view of major historical events. In this chapter only the first two phases are dealt with: First phase or the era of modernity (1206-1285) and the second era that is from the establishment of the constitutional government till Reza Khan’s rule( 1285-1299).
 

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Unlike contemporary poetry, hemistiches in modern poetry are not arranged on a predetermined and specific style. In fact, by composition of poems, the poet designs the writing structure of his work. It can be said that there exist as many writing structures as the poems composed to this date.
In this article the author endeavors to while reminding the reader of modern poetry’s violation of norms, analyze some aesthetic functions of this genre.
The author focuses on the role played by the style of writing in helping the reader in properly reading a poem and the style’s contribution to the true conveyance of thoughts and feelings as well as distinguishing the images and highlighting the concepts of time and place.
 

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  This is a comparative study between two outstanding poets from two different cultures and civilizations. We try to show the effect of modern attitude on the two poets, T.S. Eliot and Ahmad Shamlu. For this purpose, we explain the word modern in the first part, then the history of modernity in Iran and Europe is described in brief. At the end, their similar thoughts and works are compared on the basis of modernity and literary modernism characters. Also we go through details of modern thinking in the above poets. We can brief our reasons for choosing these two poets for comparative study in these factors as:                                                                    First, they lived approximately at the same political, social and cultural context, which led them to create the same works and thoughts.                                                              Second, Shamlu is known as social poet and, like Eliot, lived in a revolutionary period. Eliot was under the impression of the world war and modernism, and Iranian poet had experienced 28^th Mordad coup deta and the 2^nd world war. Also he experienced the period of transition from traditional to modern society. So these poets have many similar characters for comparative study.                                                                    

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The following text, which has been emerged from the research on the period of power transition from Qajar to Pahlavi, unlike the approaches that are based on traditional history, according to the Foucauldian discourse analysis and the post-colonial literature, offers differentiatedscrutiny on how the first modern statehas been formed in Iran. The results show that the formation of the first modern state in Iran is the objective and strategic embodiment of the imperative modernity. Reconsidering the formation of imperative modernity, the influential discourse acts, the paper also which have formed the supporting elements of the foresaid formation were identified. Embarks upon the critical discourse analysis of the journals published in the period of power transition from Qajar to Pahlavi, including: Kaveh,Iranshahr, Name-e Farangestan, Ayandeh and Mard-e-Azad. Resulting categories of this discourse analysis include the following main concepts: "self and other image"; "Asking about collapse and underdevelopment", "adopting western civilization", "separation of religion from politics and public sphere", "elitism", "necessity of the imperative and authoritative state", and finally "nationalism". The intellectuals of the power transition period, as the reference group of the imperative modernity discourse, as well as the most influential strategic group, have played a major role in institutional and discourse formation of the first modern state in Iran. Here, wewell focus to analyze their discourse effects.

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Iranian architecture was subjected to chaos and confusion from the late Qajar and early Pahlavi era. In this period we see the simultaneous construction of buildings, each representing one of the schools of a distinct period of history. The diverse and often conflicting tendencies in architecture of this period were mostly due to the differences between the political and ideological trends of this era of history, grounded in the political current of late Qajar and early Pahlavi. These different orientation have led to the institutionalization of a new style of architecture in the Qajar period that caused Iranian architecture to blend some specific factors of its form to those of far East, and put tradition and modernity face to face that is artistically pleasant. Combining tradition and modernity in architecture begins in Qajar. Numerous trips of kings and princes to Europe are the main cause of modernization arrival to Iran. This trend became faster in the period of Nasereddin Shah and Persian art took great strides during the Qajar king. Qajar is the period of conflicting architectural values and ideas, and diversity in urban architectural trends and styles. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition, can be mostly seen in the field of residential architecture, so that, the architecture of this period has been called, housing architecture or residential architecture. From the engravings of pillars and entrances to elements such as pediments and even windows forms and volumetric adaptation form the buildings only show a part of Qajar era architecture. This mixture occurred not only in architecture but also with changes in other organs and Iranian social phenomena, which, in its own time, was considered as modernism. In this paper, In addition to defining tradition and modernity, the following questions will be answered: (1) how is the confrontation of Iranian contemporary architecture (Qajar period) with East architecture? , (2) is it possible to see any relationship between architect’s designing of architectural elements and their time of formation? To find answers to these questions, arguing settlement method / technique of cross - sectional - interpretation is used. To collect opinions (informed people in the field of Architecture) questionnaire technique is used. The results show that, in recent one hundred and fifty years, modernity, has thrown light on many aspects of Iranian society, many theoretical and political conflicts of this period, from "Islamic solidarity" to "westernization", “Constitutionalism Movement "to" Islamic Revolution ", from "Marxism" to "Ziaeeian and Pahlavian modernity" and from "Alavi Shia" to "ideas of progress", were all part of efforts towards transforming, modifying, or enforcement and closing modernity. Changes in Iranian architecture during the Qajar and architectural trends towards West architecture, has not occurred uniformly and homogeneously and this is not encompasses all segments of the society; It was first emerged in the palaces of kings and then nobility. Emerging a gap between rich and poor classes and a heterogeneous picture in architecture of city was natural at this stage; riches’ houses became increasingly luxurious and those of poor were in traditional and old form. This resulted in the duality and conflict in the appearance of city. It means that the impact of European architecture was firstly revealed in royal buildings, then in public buildings and finally in residential architecture. These influences are mostly in the architectural forms and not in the methods or construction. In the late Qajar period, European architecture can be seen in all sectors and buildings. Complex decoration and tore the can be notably seen in Qajar architecture, these characteristics dates back to the introversion of Qajar architecture. Much attention has been paid to interior side and this part was separated from outside by complex decoration, but it gradually changed, since on the one hand, the materials used in construction were changed and new materials were used in construction, on the other hand, at late Qajar and early Pahlavi introversion changed to extraversion. The walls became short and exterior facades were noted, the spaces became more creative and diverse, and In a word, we can say that Naserrian fence was broken. In the meantime, many buildings, constructed in the Qajar period, were affected by Western architecture. In this study, we will examine more than fifty buildings of this historical period, recommended by the professors, but due to the limitation of this paper, only two outstanding works which were accomplished in the form of questionnaires, will be mentioned. After examining some architectural samples, we will find out more about the logical relationship between passage of time and West architecture and the historical importance of building. In term of historical period, a logical relationship is seen between the passage of time and West architecture. Based on the tests conducted, the correlation value is 48%, that with regard to 0.002 error, this is a substantial and highly significant number. In other words, the more we approach the end of the period, the more the building are under the influence of West architecture. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition, can be mostly seen in the field of residential architecture, so that, the architecture of this period has been called, housing architecture or residential architecture. In terms of historical importance of the building, the more we approach the end of the period, the relationship become more significant. Correlation value of 0.058 and the error rate of 0.017, show a relatively accurate and proper relation, so that we can expect that the building of the late Qajar have more historical significance than those of the early period. Likewise, in term of the significance of the contemporary building, there is also a significant relation. And again, the more we approach the end of the period, the relationship become more significant. This is quite evident according to Table 3 and 5.

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This article is a comparative sociological study and it shows some effects of changes in social relations which is the result of modernity in iranian and arabic communities.
This study inspects the Iranian and Arabic community and its deals with the female symbols as the one of social development indicators. Based on this, the use of female symbols and myths was assessed and compared in Abdol Vahab Albayati & Ahmad Shamlu’s poems.
This study ultimately concludes that female symbol’s log in to poetry, not as a beginning of a course but it’s the result of a circulation which tries to change social relations and create a new balance between two powers in society. Addressing female symbols, in addition to give poet the possibility of addressing the mythical topics; is an attempt to empower the hidden half of the population that was held back for years. And this is not a feminist effort, but it’s blowing lyrics the spirit of gentleness and describes the hidden part of the community that would appear in the light of modernity and this effort has many examples in both Persian and Arabic literature.

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  The main problem of this article is Islamism as a social –political discourse. The hypothesis is that Islamism isa typical resistance against the hegemony of European modernity discourse. Islamism discourse, with political definition from Islam, attracts the forces of marginalized and excluded frommodernization discourse. This discourse suggests analternative model for communitymanagement through a new formation that offers from Islam. Islamism discourse challenges the European modernization in Islamic societies. With offering a political narrative from Islam, Islamists provide resistance forces against the hegemony of European modernity discourse.

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Abstract: Poetical theory is a methodical discussion about works the nature and instrument of which are language. Mohammad Taqi Bahar (Malekoshoara) and Ebrahim Abdolqader Mazani explained their poetical theory in a period when there was an intensive struggle between tradition and modernity in all sections and fields. Both of them, as the effective members of an outstanding literary movement (Daneshkade association in Iran and Jama'ate Divan in Egypt), played a role in explaining their poetical theory and the movement they belonged to. The present study can pave the way for literary analysts to compare the conditions of literary movement in different lands. It also provides an exact and scientific analysis of the philosophy of their success in one land and their failure in another land (or at least ups an downs of their movement in literary limits of different nations). So it compares poetical theory of Mohammad Taqi Bahar (Malekoshoara) and Ebrahim Abdolqader Mazani. After extracting and classifying the ideas of Bahar and Mazani about definition of poetry methodically, and about the position and function of poet and address in creating a poem and its content, poetical theory of these two are compared and explained. It is clarified that both of them have paid attention to poetry function rather than to its structural aspects. From the intellectual aspect, Bahar is more introvert but Mazani is extrovert. It should be mentioned that the function of European literary works and also taking effect from European literary schools is evident in Mazani poetic theory. In general, it can be said that Bahar is more traditionalist and Mazani more modernist.

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  The Iranian society evolved in a particular way in the Qajarid period, as a pre-modern and traditional society. The introduction of modernity was the main factor behind these changes. The political result of the defeat of this modernity was the onset of the Pahlavid dynasty, which shaped changes in the Iranian society of the Pahlavid period based on this very modernity;the changes and developments through which the issue of the evolution of Iranian clothing is also raised. The present research is a fundamental study based on its goals, and a descriptive-analytical research based on its theme. To reach this objective, the required data were extracted from the previous researches and historical references, and undergone quality analysis to reach scientific results. The results showed that the changes in clothing of the Qajarid period, due to preservation of traditional structure, were only received and accepted by a small number of the court members and the intellectuals of the time, and the common folk persisted on sticking to the traditional norms of clothing. In the First Pahlavid era, under the rule of a dictatorial modernity system that conveyed trends from the top to create an identity for the society, changes in men’s clothing grew with the cooperation of the cultural sources of the society, but change in women’s clothing took on a different form due to the non-cooperation of this group.    

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This paper intends to identify Seyyed Hassan Taqizadeh's thought and its social and mental bases, and analyze his political action as an Intellectual and political actor in the era of constitutionalism according to the historical sociology approach with regard to the sociology of knowledge. Mannheim's sociology of knowledge focuses on some traits such as social position, dependence of thought to social background, and historicality of thought, and to some extend pays attention to person subjective. These are competent elements, which were used for recognizing Taqizadeh's thought and the process of becoming an active political actor. Besides, this paper uses the concept of action in its details to understand the type of Taqizadeh's action and its relation to his social and intellectual bases. According to these facts, the paper tries to answer how and to some extend why such relation exists between Taqizadeh's thought and his political action. It concludes that Taqizadeh's family position, social rank, social environment, and experiential and humanity sciences, especially evolutionism, as well as his former knowledge of Islam are the main bases of his modernity. With regard to these foundations, it should not be wondered that Taqizadeh's thought and political action are mixture of Islam, liberalism and socialism.

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achiving optimal soil governance taking into account Iranian contex needs theoretical and practical framework. Regarding this, the Islamic Iranian model of progress as well as issues raised in the 17th and 18th Iranian Soil Sciences Congresses in 2022 and 2024 were examined. Stewardship environmental governance in the Islamic Iranian model of progress, is crystallized in the four relations between human and Allah, himself, others, and nature. This indigenous theory in relation to the country’s public governance has provided the context for extension of discourse and paradigm shift. In the implementation of soil governance, the establishment of soil bureau in the Ministry of Jihad Agriculture and its branches in the provinces since 2016, and also, the approval of the Soil Protection Law in 2018 has taken an important step in the direction of increasing the effectiveness of the government and other authorities. Moreover, review of the approved law showed that indicators such as the rule of law, transparency and justice are better and more coherent than indicators such as accountability and participation. To institutionalize stewardship soil governance and improve effective and constructive interaction of government with other civil and private sectors, it was proposed to create country's comprehensive soil database and legal access to it, to define indigenous soil governance indicators and to encourage participation of local communities in the soil resources management. This theoretical and practical set should be elaborate under country’s general governance through stakeholders’ participation at all levele.

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Despite its importance in the process of political modernity in Iran, ‘Iranian Constitutionalism’ has been scarcely studied from the viewpoint of nation-building/ nationalism ideologies. From the perspective of historical sociology, constitutionalism paved the way for the appearance of the multiple images of Iranian nationalism emerging from the 19^th century. Iranian constitutionalism encountered, on one hand, the emergence of political nationalism based on the sovereignty of nation and the rule of law, and the reaction of cultural nationalism, on the other hand. Although the expedient, short-term convergence of these nationalistic tendencies at the beginning of the Iranian Constitutional Revolution was fruitful in some respects, the divergence of these tendencies and the escalating conflict between them throughout the process of constitutionalism reveal restrictive, substantial contrasts in the process of Iranian political nationalism. The multiplicity of Iranian nationalism due to the diversity of values and cultural resources and the divergent orientations of the nationalistic tendencies in the Iranian constitutionalism undermined the possibility of agreement on a comprehensive definition of nation and the establishment and institutionalization of the sovereignty of nation and the rule of law. Thus, from the Constitutional Revolution onward ‘the issue of nation’ and ‘the sovereignty of nation’ have remained the focus of attention of discussions as the most important issues in contemporary Iran.    

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The story of Amir-Arsalan is one of the most important folk tales of the Qajar period. This story, which was written and narrated directly for Nasser al-Din, can be a good example for analyzing the discourse of the Qajar era. In the Qajar period, despite the deposition of the discourse of tradition in Iranian society, gradually with the influence of the presuppositions of modernity, the discourse of modernity emerged. In this research, we have examined the story of Amir Arsalan from the perspective of the discourse of modernity as well as the discourse struggle between tradition and modernity. The research is based on one of the recurring propositions of the discourse of modernity in the political sphere, "consultation is decisive." Using the method of discourse analysis, we have examined the parts of the text that have been formed based on this proposition. We have also referred to cases in which the discourse of tradition has been meaningful while examining the discourse of modernity in the text.

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In the process of modernizing societies, numerous cultural elements, roles, and social structures undergo changes and transformations. These transformations are influenced by the form and structure of societies, the type and function of elements, and the way social roles are understood and confronted within the context of modernity. The Bakhtiari society, characterized by its traditional structure within Iranian society, has witnessed rapid changes and transformations in recent decades. These changes impact various tribal and familial structures, relationships between social roles, customs, and traditions. By conducting field studies and research, as well as examining literature and art as manifestations of the broader culture of the society under investigation, valuable insights can be gained through sociological investigations of these transformations. This research undertakes an analysis and examination of two screenplays, The Skier (Ski-Baz) and The Twelfth Team-mate, (Yar-e-Davazdahom) directed by Fereydoun Najafi, from a sociological perspective through Anthony Giddens' theory. Giddens delineates four essential components of traditions, which serve as a framework for the analysis. The research findings illustrate that both screenplays, The Skier and The Twelfth Team-mate embody the four components of tradition from Giddens' perspective. In Bakhtiari society, traditions have not vanished but instead endured as they are cherished and safeguarded by individuals. According to Giddens, these traditions are deeply embedded in the group's identity (Bakhtiari tribe) and are constantly reasserted across various domains.
 

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Aims: Architecture as one of the ways to create a work, while using art, is a combination of thought and technology. What sets an architectural work apart from other works is that it is more valuable than providing shelter; In other words, in addition to the functional aspect, it also expresses the characteristic of beauty and higher transcendent concepts. This type of architecture, as a valuable heritage, has the ability to remain in history and the role of technology in the production of such heritage has always been one of the influential parameters. When an architectural design is formed as a special work of art, it is affected by the technology and it has become symbolic in this state. The purpose of this study is to investigate this secondary aspect of technology and its role in the production of heritage of contemporary architecture.
Methods: The research is Combined and uses a Grounded Theory. Through descriptive-analytical methods, by examining the heritage of contemporary architecture as well as the aspects of the effects of technology and its role, the factors affecting architecture have been analyzed
Findings: Examining the identity samples of contemporary architecture as a lasting heritage with different geographical distribution shows that jointly the characteristics of form, function and beauty in the areas of formal configuration, spatial organization and facade composition can be analyzed and compared.
Conclusion: The nature of the architecture of funds at the intersection of art, science, technique, depending on the time and the context has been changed and the creation of a lasting architectural heritage has depended on the level of technological advancement of its time.

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The aim of this study was to evaluate the impact of modernity on the father's place in Iranian families based on the period of Pahlavi Persian Rman‌Hay using content analysis. Characters father, Gftman‌Hay symbol of the Iranian family in the period of the descriptions. Characters Father, into three categories: traditional, modern Nymh‌Snty were divided and the highest frequency was dedicated to the traditional characters; however, many of the characters-in the Father, the components of modernity, influenced or sought to changes in the family. Generally negative attitude to the characters of traditional and modern father that it would look more due to family issues is superficial.

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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.