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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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There are several attitudes about the linguistic characteristics of literary works by female authors. The present study aims at highlighting the need for a stylistic analysis of female fictions as a method for linguistic, literary, and ideological analyses of these works. In this study, we have studied the most important stylistic aspects of Pirzad’s writings through a feminist stylistic approach. The results of the study indicate that from the first work of the author (Mesl-e hameh-ye asr-ha^[1]) to the last work (Ādat mikonim^[2]), a feminist point of view has emerged at different levels of the texts, e.g. lexicon, sentence, and discourse. The changing trend of thought which leads to linguistic transformation and development in the author’s work is as follows: in Mesl-e hameh-ye asr-ha,Ta’m-e gass-e khormalu,^[3]Yek ruz mandeh be eid-e pak,^[4] the women are engaged in routines and have no intentionality of their own, while in Cheragh-ha ra man khamoosh mikonam,^[5] the women status is challenged, and in Adat mikonim, due to the role of women in social activities, a different description of female identity as the agent of change is presented.
[1]. Like All Evenings [2]. We Will Get Used to It [3]. The Acrid Taste of Persimmon  [4]. One Day before Easter [5]. I Turn off the Lights

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A Bibliography of Contemporary Persian Fiction was published in 2011 in 686+18 pages and large lectern size, with three attachments by the endeavour of The Department of Contemporary Literature of The Academy of Persian Language and Literature, under the supervision of Farideh Razi and collaboration of Ozra Shoja Karimi and Azadeh Golshani. This book covers 7069 entries and the bibliographic information of 14,046 books from the time of Constitutional Movement to 2010. Regarding the reputation of the publisher in publishing reference books, this book was expected to be free of errors (especially egregious errors must have been avoided); however, against all expectations, it turned out that the book was loaded with all kinds of errors and shortcomings to the extreme that the publisher later prepared an errata in the spring of 2012 titled Mostadrak which was launched with the book. Unfortunately, despite showing a lot of errors of the book, the errata itself suffered from other shortcomings and mistakes. We show some mistakes of both sources here and thus avoid the viewers of bibliography from being

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In this essay the blending of story and discourse in postmodern Persian fictions is analyzed. According to structuralist narratologists' definition, story is the sequence of actions upon to chronological order that characters or existents undergo them; Discourse or narrative discourse is the medium that is selected for narrating the story. In some postmodern fictions, we see some narratives that in their stories or deep-structures, there is not a rich story, and the author don’t want to just narrate, represent or mimic a story. In these narratives, surface-structure and deep-structure (or discourse and story) is blending and spinning so that we cannot summaries that story, or transmit that story to another medium. In the other hand, story existence is depended to narrative discourse. Such narrative technique is evident in some postmodern Persian fictions. In this essay, in addition to discussing the blending of story and discourse, Persian fictions that had this trait are analyzed.

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Tarikh-e Adabiyat-e Dastani-e Iran[1] by Hassan Mirabedini has been essentially the result of his study on the evolution of fiction writing during his years in the Academy of Persian Language and Literature. This institution has already published another version of this book in two volumes in 2008 and 2012. After some time, a new version of this book in one volume was published with drastic changes by Sokhan Publication, edited by Ahmad Samiei (Gilani). This book has examined the formation and various incidents of Persian fiction from its inception to 1953. Here, I briefly examine the structure, methodology, innovations, and the relevance of this book to the future studies. This investigation examines less discussed subjects such as the influence of travelogues and folklores on the formation of Persian fiction, the preface of the first Persian novels, religious novels, detective and criminal stories, etc.
[1] The History of Iranian Fictional Literature

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The current research aims to analyze and classify the semio-discursive components of Narrative “doubt” in the discursive system of “As you had told Leyli” – the novel by Sepideh shamloo- one of the writers of Persian fourth generation fictional generation. Research methodology is descriptive –analytical. In fact, the authors seeks to explain for the first time the underlying semio-discursive components of “doubt “in literary discourse by relying on the theoretical framework of post –Gremassian semiotics in order to show how the notion of “doubt “ emerges in the literary discourse and affects the process of meaning production and perception. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “doubt” in literary discourse? 2. What are the major narrative and semio-discursive functions of “doubt” in the whole discursive system of the novel? It can conclude that in semiotic analysis of “As you had told Leyli” two main actants of the novel (Mastaneh –Sharareh) enter in competition with each other for the concept of love. This competition results in the interplay of negation and affirmation at the heart of semio-discursive system of the novel. As seen throughout the current research, by highlighting the Leyli’s scheme, the writer tries to challenge the narrators / enunciators affective states throughout the history of the novel. The main thematic of this story which is doubt is the central and main narrative program of the novel. Neither Mastaneh nor Sharareh can approach to Leyli’s scheme. In fact, in this work discursive tension sometimes leads to discursive action (here Mastaneh’s suicide) and sometimes to negate it. It is worth mentioning that the marginalized narrative action casts doubt on Leyli’s scheme and in this step Sharareh loses her modal competence and is concerned with modal verbs turbulence. The enunciator who has the virtual semiotic presence till the end of narrative. Undoubtedly, this novel presents a semio-discursive paradigm whose main feature is “doubt”. In this novel, discursive action has the secondary function and is based on thymic (the interaction, multiplication and turbulence of modal constituents), tensive and existential components of discourse which are highly under the influence of negative functions. Consequently, none of the enunciators/ narrators can never retrieve their actual presence. The results showed that narrative doubt is as a result of tensive and existential components of discourse which marginalizes in its own turn the narrative action and has the close relationship with all the styles of semiotic presence whose meaning is based on negation and fall and affects the process of meaning production and perception.
 

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“Dash Akol” is one of the most important fictions in Persian literature. This short story is different from other fictions of Sadegh Hedayat. Sacrifice and “gheyrat” are important concepts in this fiction and this is questionable. The hypothesis of this article was that, unlike popular belief, “Dash Akol” is not entirely realistic but it`s a semi-Modernist short story because of central subjectivity of Akol. In other words, characterization in the second part of this story is Modernist. A Modern subject has three features and all of them are observable in the main character of “Dash Akol”: 1) Consciousness 2) Agency 3) Personhood. Akol have some secondary features too: 1) Overthinking 2) Attention to the unconsciousness 3) Solitude 4) Thinking about death. This short story is written in a period of contemporary Persian fiction that Modernist literature arose and this story has shown the evolution of contemporary Persian fiction.