---

Most Iran-Iraq War novels are considered to be an ideological device for the “Holy-Defense” genre; however, in the recent years,a number of distinct polyphonic novelshave emerged, one of the most important of which is Ahmedzadeh’s Chess with the Doomsday Machine. Bakhtin’s distinction distinguishes between monologue and carnivalesque novels. Polyphonic novels, like carnivals, act as a centrifugal force supporting nonofficial dimensions of the society. Images of food and carnal elements, cursing, reciprocal relation between characters and settings according to the double aspects of carnival, and rebellion against a victorious closure by postponing the narrator’sactions distorts the linearity of narration common in in the Holy-Defense novels. 

---

What is introduced to readers around the world as “world literature” by scholars and critics is rather an anthology of writers and their works from other countries than an equal opportunity for all nations to have the world listen to their literature without socio-political preferences. This selective approach in introducing “world literature”, mostly practiced by the West to maintain its position, resembles in essence the application of collage in conversation pieces, in a way that creating and developing “world literature” in different times could be paralleled with a collage piece so that this art acts as a metaphor for “world literature”. This study, interdisciplinary in approach, investigating the themes and techniques of collage in “A Conversation with Dante on Divine Comedy,” as a conversation piece, peers into its selection of certain literary figures in light of Bakhtin’s “carnival” and Franco Moretti’s “distant reading” to shed light on the role of critics, scholars, professors, translators, and publishers in making up “world literature”.

---

Mir-e Nowruzi is one of the ancient carnival performances of Iran, which has either disappeared, or rarely occurs today. Unfortunately, not enough literature has been written in order to preserve the importance of this ancient drama as it deserves. In Iranian historiography, there are few and limited documents that reliably report how Mir-e Nowruzi performance was held. On the other hand, after studying the sources and researches in line with the topic of the research, the authors found out that none of the previous researches have been done on the subject of “performative” aspects of Mir-e Nowruzi festival. Despite all the valuable efforts of writers and researchers of Iranian dramas, including Bahram Baizaei, Sadegh Ashourpour, Farideh Shirzhian, Dawood Fathali Beigi and others, unfortunately, this type of drama has not been sufficiently addressed in Iran, and with the passage of time, the danger of Iranian shows being forgotten and faded is felt more than ever. This will lead to the separation of the contemporary Iranians with their rich and authentic culture. Therefore, research in this field seems to be vital for researchers in the field of culture and art of Iran. Throughout the history of Iran, many poets, including Hafez, have written verses about Mir-e Nowruzi's play, but none of these poems and references have dealt with describing the event and its details, and it seems that these references are only symbolic exploitations of the poets. 

---

Mikhail Bakhtin considered popular literature to be the most suitable field for the emergence of carnival thinking. The distinctive feature of this thought is the disruption of the dominant discourse on traditional literature through the transformation of language and values in literary works. This article tries to analyze Iranian folk tales from this point of view. For this purpose, seven collections of Iranian folk tales have been analyzed in a descriptive-analytical way. The prominent features of carnival literature, such as freely raising issues related to the material life of human life Like eating, drinking, birth, marriage, and finally death as a natural process of life - and not a tragic and catastrophic thing - are important elements of carnival and grotesque thinking, which are discussed in this essay. The result of this research shows how different personality types are in conflict with each other in the stories, and with the transformation of superior and inferior levels, the discourse of dominance collapses. In these narrations, by breaking the norms of power in the society, the possibility of multi-voices is provided in the stories, which is one of the distinct characteristics of carnival literature. Also, the use of free language, without moral restrictions, which includes unusual words, profanity, and unusual words, helps to create a humorous atmosphere of the carnival.