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Panahi.M.,PH.D
Abstract:
Selecting paint in "Functional Psychology" concerns psychology of personality. Person's interests to a specified paint are not the same. The real meaning of paint is defined and is the same for all in such a psychology. Analyzing paint usage in the poems and writers works facilitates understanding the writer's mental situation.
    This article tries to be close to Nima mental situation by presenting a statistic on 8 functional paints of Marks Lusher in Nima poetries collection and their arrangement based on their consequence through analyzing paint psychology and classifying them in an even order.
    "Black" is the highly used paint in Nima poetries but it is not the paint of poems spirit paint as the "Blue" paint shows the poem's tendency toward acquiring tranquility. Black in Nima's poetries means expressing sympathy over the needy and is a cry for the age of hoarseness. The third pain is "Yellow". It means a path for freedom from the challenges and is a symbol to show a hard working mind to create a world wide brotherhood. The forth paint is "Green" (If "White" which is not within the eight ones is considered, it is the fifth one) which is not paid attention. It, after "Yellow" means escape to be free. The last paint is "Red". Its place here means it is ignored and it means lack of encourage for life and offending. The minor paint in Nima's poetries is "Grey" and ""Violet" whose proximity expresses an artful mind of Nima.
 
 

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The poem of "Rira"’s nima yushij is one of the best modern poems of him. Structural, metrical & lexical features of this poem were caused readers with different horizon of expectations to have sometimes different readings of it in decades. The meaning of this poem has always been concealed in ambiguity by the use of certain words, specially the word "Rira" & the use of symbol in his poems. Reception theory is studing different readings of a text which makes it to recreat every time. Reading of nima’s poetry according to reception theory reveal the difference aspects of his poetry. In this article we intend to express different readings of the "Rira"’s poem in the realms of form & technique as well as the structure of it’s content deal. And also we want to analyize the audience reception from progressive meaning of this poem, diachronically & synchronically. this study show that Nima creates his objects by providing multiple perspectives with the theme of grief and with creating gaps in the text. Meaning in this verse, formed by horizons of expectation, over time. The reader is unaware through the poem & ultimately become conscious. Horizon of expectations prevailing in the poem "Rira" is horizon of expectations And the readers by using the codes of aesthetics assets interpret poem. However, due to the inherent properties of this poem, can be presented each time a new reading of it.

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Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literay critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. In this study the authors seek to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, the authors  analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the liryc poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, the authors have presented solutions using the theory of text worlds.

1. Introduction
Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literary critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. Our purpose in this study is to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, we analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the lyric poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, we have presented solutions using the theory of text worlds.
The article can be elaborated in more detail: Text world theory is one of the tools of cognitive poetics that provides the reader with the ability to carefully examine the components of a text. This theory has a coherent method for modern literary analysis because it explores internal elements and then analyzes the evolution of text discourses. The present research has demonstrated in practice that this theory is a tool for accessing discourse and the constituent elements of Persian poetic texts. An important point that the interpreter must consider in analyzing the text world of classical poetry is to pay attention to the elements of discourse and not to examine grammatical sentences.
In the analysis of poetry, this theory, more than anything else, deals with the context of the text and the explanation of the textual elements of the poem, and does not have the special ability to examine the rhetorical elements of the text. At the same time, in the course of our research, we have shown that despite the limitations of this theory in dealing with the rhetorical elements of the text, the rhetorical simile can be explored in sub-worlds of text. The inherent limitations of classical Persian poetry, such as the lack of narration and the lack of vertical focus in many poems, as well as the necessity of weight and the existence of rhyme and line, cause this theory to generally face limitations in dealing with classical poetry. With the application of several guidelines, this theory can be applied to classical Persian poetry. This theory is well-suited to criticism in modern poetry because of its greater narrative and lack of limitations on classical poetry

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Since ancient times, pain and suffering have been one of the prominent manifestations of human life. These two concepts have always had numerous meanings and instances in human life, sometimes destructive and sometimes constructive, and have always had a wide reflection in literature during different periods. By examining the works of writers and poets, one can achieve different and specific types of pain and suffering in these works. In the present study, the typology of pain and suffering in the works of two contemporary Iranian and Arab poets, namely "Nima Youshij" and "Nizar Qabbani", has been comparatively studied using an analytical-descriptive method. Studies show that common types of various areas of pain and suffering, such as the suffering caused by love, being a poet, the suffering of oppression and tyranny, and social pain, can be found in the works of both poets. The first two types of pain and suffering mentioned above are more personal and individual in nature, and the other two types are more concerned with general and human suffering. This important fact indicates that pain and suffering in the intellectual system of these two poets has multiple dimensions and is not one-dimensional. Nima Yushij and Nizar Qabbani’s concern and depiction of social issues have caused the poems of both poets to reflect a lot of pain and suffering. Of course, this pain and suffering does not originate from despair and malice, nor does it lead to nihilism; rather,it is often rooted in the hope of creating change

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In this article, at first, the authors have tried to scrutinize some of the most important attributes of Nima Yushij’s engaged poems in the first decades of 20th and 30th from the view point of extra-linguistic and sociological aspects. Then, in the framework of intra- textual and linguistic essay artistic and literary quality of these poems are evaluated. From the view point of extra-textual approach, descriptive research methodology and content analysis of results show that ideological representation of Nima’s Poem and Tudeh’s Party reading and interpretation of those poems make sense that these poems have been just engaged in this party. The interpreters and critiques of this party have reflected a uniform and concordant atmosphere with their own thoughts in relation to the poems of Nima ideologically. So, Social poems of Nima have been always interpreted with political bias on behalf of dominant discourse. But, in fact, the engagement of Nima has been totally toward the society and left Party not Tudeh’s Party. From the view point of Intra-textual and linguistic approach, Nima has never ignored literary aspect of his poetic work in favor of engaged mottos with directive and referential language. He has applied the technique of semantic foregrounding and symbolism to produce an open text which is devoted to the signification process