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Surrealism has had a great influence on the modern poetry in Iran. Spacementalism (Hajm-geraii) was influenced more than any other poem by surrealism. This style of poetry in Iran was founded by Yadu'llah Royaee. The purpose of this paper̦ is to study Spacementalism (Sheˊre Hajm) according to the Surrealism School. This article tried to prove that the poem (Hajm) is a form of Persian surrealism. Picture, language, music and thought in Sheˊre Hajm have been studied. At the beginning of this article, we briefly discuss the surrealism movement. Then, the history and the statement of Spacementalism are death with. Common characteristics of surrealism and poetry are also considered in this paper. In Hajm Poem, we see paradoxical images, ambiguous language and defamiliarization; the same features are observable in surrealism. These issues are documented in this article.  

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This article continues the unfinished discussion of Tzvetan Todorov on the classification of ‘unreal literature’ in the West by expanding his idea about surrealist story as a genre. After defining the term surrealist story and its theory, the authors, drawing on the hypothesis that surrealism is an ancient phenomenon, analyze the components and atmosphere of a selection of mystical anecdotes. The results indicate that the surreal works in the East and the West, from the ancient times, have been grounded on similar theories and comparable elements.

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Adonis’ poem“Tahavolat al-‘asheq” borrows from multiple theological and mystical texts and focuses on the encounter between tradition and modernity. This encounter formulatesa new concept of “surrealistic mysticism.” This paper studies different conceptual aspects of surreal mysticism in Adonis’ poem. The study shows that the embedded confrontation of different texts in this poem represents the formation of a modern thinking that transforms the lover from a spiritual essence to the embodiment of carnalinstincts in the modern world and reduces human to a sensual being by depriving him from the divine elements of nature and mysterious qualities.    

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A number of Persian literary studies in the recent years have connected the unconscious to the internal monologue and stream-of-consciousness narratives. Conversely, psychoanalysis has taught us that the content of the unconscious has a nonverbal, obscure, and hidden character and, in fact, because of the resistance from the human conscious psyche, this content do not have a way to become conscious and only perhaps someone like a psychiatrist or therapist can interpret it through intermediaries such as dreams or psychosis symptoms. Since such a claim is limited mainly to Persian articles and books, the present article has critically reviewed some of these studies and their theoretical resources. My conclusion is that this error is sometimes caused by lack of proficiency on theoretical issues and often is the result of untrustworthy and secondary theoretical resources. In contrast, in the more reliable scholarships on the stream of consciousness in fiction, the claim of imitating unconscious in this kind of fiction—unlike certain psychological and surrealist stories—is refuted.

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TThe Woman Behind the Bronze Door" is one of the stories in the "Doors and the Great Wall of China" collection written by Ahmad Shamlou. From the reading of the story, it appears that in writing this story, Shamlou has used the features of the Gothic and Surreal schools, in a way that it can be said, he has turned the characteristics of the Gothic school towards the Surrealism school with a kind of artistic transformation. This research aims to show the most important effects and dimensions of these two schools in the story with an analytical method. The findings of the research show that on the one hand, using an atmosphere full of ambiguity and mystery, otherworldly events with anxiety and fear, fearful place, fluidity of time, morbid and chaotic characterization, nightmare, superstitious beliefs and boundless fantasy of a full-fledged Gothic story. has created and on the other hand by creating something wonderful and extraordinary, subconscious mind, illusion, dream and surrealist objects, automatic writing and surreal love, he has written a surreal story. The content of the story is a mixture of dreams and reality in an inflammatory and melancholic atmosphere, and at the same time, the border between the two is not clear. Based on this, it can be said that Shamlou has reached Surrealism from the Gothic passage and has reached the peak of the connection between these two schools, and his innovation in creating a work that is a combination of the two mentioned schools is a remarkable experience in the tradition of Persian story writing.