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Since the earlier times, stories on prophets, miracles and their adventurous and instructive life have received special attention as effective elements in the literature domain, embellished literary works and attracted attention of huge number of readers. One of the most enticing, influential and noteworthy of these stories is on Jesus Christ. In the literature of the past, most of the poetical interpretations of him are more under the influence of Islamic point of view and less on Christian one, which in most part is in conflict with Islamic trend of thought on some significant issues. In the modern literature and specially the contemporary Arabic and Persian poetry, the Islamic interpretation of Jesus is encountered by a considerable Christian turn and some concepts like Jesus' sufferings, his crucification, his sacrifice for redeeming the human’s sins and his resurrection after death derived from Gospel find their way into poetical works. These concepts have been converted into mythical and symbolic ones in the Christian art and considerably aid poets in expression of internal anxieties, victimized nations’ suffering, cruelty of governors, cruel governments and so on. Adonis and Ahmad Shamloo are two modernist and experimentalist poets that some parts of their poetry are devoted to symbolic and mythological depiction of Jesus Christ. Relying on American school in comparative study, this comparative study attempts to investigate the motif of Jesus in Adonis and Shamloo’s poetry in a comparative manner and analyze some considerable issues in their poetry including Jesus’ Christian or Islamic aspects, the styles of these two in depicting him, their points of commonality and difference in Jesus' symbolic interpretations and success or failure of each in applying these symbols.

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This article explains the common themes of Shahriar and Fowzi Maalouf's poems by asking what common themes of their poems about nature were. To answer this question, in the research process, a descriptive analytical method has been used based on library studies and content analysis of the data. The findings of this research indicate that Shahriyar has given some reflection on the nature of the Fowzi due to a periodic crossing of his life in relation to romantic tendencies in nature. Shahriyar's attitude toward nature is the result of his own experiences and personal acquisitions, while in Fowzi's view, nature is the source of inspiration for many concepts. The characterization of nature is more realistic in the sense that the Fowzi's poetry takes on the utopianism.

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This article seeks to use the descriptive-analytical method and relying on the definitions of social modernism to address the issue of social innovation in the poetry of the two poets and what are the similarities and differences in each of the topics? The analysis of Baroudi's poetry suggests that he is taking advantage of the sophisticated taste as well as following the critics of the West to the affairs of the people and to correct the defects in society. Like Farrokhi Yazdi, he addresses issues such as central justice, homeland, despondency, attention to poverty, opposition to oppression and oppression, and invitation to studying science as one of the most important subjects of his poetry. The most important aspect of Baroudi's and Farrokhi's poetry's differences is that Farrokhi, as a responsible critic, deals more with the community and related issues, but in Baroudi's poetry, he makes imitation of modernization. However, with the advent of the Arab movement and the issue of exile, it is twisted within it and pursues a sharp eye and a sharp sensitivity to the social problems of its country.

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Cubism, which revolutionized the visual arts during the first decades of the twentieth century, had a significant impact on literature. It is often considered to be the twentieth century’s mode of expression. This article examines the influences of the cubist style on Hajm poetry – an avant-garde movement in contemporary Persian poetry which is mainly associated with Yadollah Royaei’s works. The main question of the article is how it is possible to apply the visual aesthetic principles and techniques to literature. The article is divided into three main sections. In each section, one of the common fundamental concepts between these two movements is introduced. These concepts are as follows: (1) the essence of the thing and the representation of reality; (2) three-dimensional image and the movement of the image; (3) and the concentration on the process of the creation of literary work through focusing on the materiality of artistic medium. These concepts are concretized by using some devices which create an effect similar to the cubist visual techniques, the consequence of which is to challenge the concept of representation in art and literature.

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By emphasizing on the correspondences of linguistics and psychoanalysis, Julia Kristeva has presented new theories about the analysis of literary texts. “The Theory of Abjection”, which is derived of her post-structuralism researches, considers the author as a speaking subject who, through a poetic and semantic language, moves away from the ravages of his around. Kristeva has examined the applicative possibility of this theory in European literature. In this paper we focus on a contemporary Persian poem ("I am concerned for the garden" by Forough Farokhzad) for demonstrateing an application of the analytic approach of  the “Theory of Abjection”. Hence, we aim two principal purposes: firstly, we try to represent an exhaustive panorama of the analytic approach of the Theory of Abjection, and secondly,  we examine the possibility of creative interpretations of this poem According. Finally we try to examine the possibility of application of analytic approaches of this theory for the contemporary Persian poetry.

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By emphasizing on the correspondences of linguistics and psychoanalysis, Julia Kristeva has presented new theories about the analysis of literary texts. “The Theory of Abjection”, which is derived of her post-structuralism researches, considers the author as a speaking subject who, through a poetic and semantic language, moves away from the ravages of his around. Kristeva has examined the applicative possibility of this theory in European literature. In this paper we focus on a contemporary Persian poem ("I am concerned for the garden" by Forough Farokhzad) for demonstrateing an application of the analytic approach of  the “Theory of Abjection”. Hence, we aim two principal purposes: firstly, we try to represent an exhaustive panorama of the analytic approach of the Theory of Abjection, and secondly,  we examine the possibility of creative interpretations of this poem According. Finally we try to examine the possibility of application of analytic approaches of this theory for the contemporary Persian poetry.

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Applying Gideon's Theory of Norms in Qualitative Assessment of Translation of Feridoun Moshiri’s Poems in Arabic. Translation acts as one of the agents of thought change as a bridge for the transmission of thoughts from different languages to one another. Translation has long attracted the attention of translators, and its translation or non-translation has always been the subject of controversy among translation theorists. Poetry is in its most succinct form a language whose language is often not explicit but implicit and moving all of its semantic layers to the target language is very difficult. In translating poetry into Arabic, Iranian poets have moved on to other literary works. In this era, we are seeing more translators trying to translate contemporary Persian poetry. Many of these poems have been translated into Arabic by translators. This method deals with the translation process or the act of translation itself. His theory points to the literary formats that exist in any particular culture and one of its main achievements was that Attention to the relationship between the individual texts of origin and the destination focused on the relationships that exist between the destination texts themselves. the main result of the qualitative evaluation of Abdul Moneim's translation to Arabic Indicates that his work It has an acceptance in the destination culture but it is far from sufficient in the Farsi.
 

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Language as a fact and social behavior is always invariant with social, cultural and traditional values. Vocabulary has an ideological identity card, and by digging the archeology of the vocabulary one can achieve inequality in the position and social roles of men and women, because they create, promote And reinforcing sexual ideologies through the same language and through discourse. In this research, the author of this study, with the approach of the sociology of language and with the descriptive-analytical method, wants to specify the cultural and social position of contemporary Arab and Pars women, based on the poems of Kuwaiti poet Sa'ad al-Sabah and Iranian poet Simin Behbahani. Achievement of the research shows that in choosing linguistic structures and patterns, Suad Al-Sabah and Simin Behbahani's follow specific linguistic patterns of their gender. Because women have been deprived of access to power in the community and have been deprived of their proper social base; their frequency of using emphasizing sentences in their poems is highlighted, so that their speeches may be considered. Using speaker's pronoun, those two poets aim to disturb the balance of power and prove the presence of women more actively in the cultural and social areas. These two contemporary Persian and Arab poets, with the help of mental metaphors, and metaphorical schemas, bring forth or create certain meanings. Suad Al-Sabah has cited Cygnus as a metaphor from a contemporary Arab woman to say that the contemporary woman has lost her freedom and her country has become a prison for her. Simin Behbahani's using the metamorphic "Gypsy" for contemporary Iranian woman, expresses hatred of allegiance, weakness, oppression, homage and submission, and demands human rights, liberty, pure and mutual love.

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Opinions about manifest in Persian modern and post-modern poetry discourse. Among the critics, scholars and poets of Persian modern and post-modern poetry, there are three opinions about manifest (that translate in Persian as Bayaniye). The first is texts that publish as titles like manifest, manifesto, Bayaniye and etc and Literary and artistic views are brought in them. Second, texts that publish not as titles like manifest, manifesto, Bayaniye and Etc but cause of their contents, are known among the critics as manifest of special literal current. Third, a poem or collected of poems that cause of their contents or their form are known as manifest of special poet or current. In this essay, after etymology of manifest, seven features for manifest shown, then three opinions about manifest are analyzed. Keywords Manifest, Persian modern and post-modern poetry discourse, a a a a a a a a a a a a a a

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In recent years, the tendency to short-term format has been considered by poets. Priskeh is one of the types of contemporary Persian short poems that was officially registered by the Ministry of Culture and Islamic Guidance in 2012. Based on this research, it was concluded that Priskeh is an independent short format that has its own characteristics and has significant structural and material differences. And the goal is to recognize more and more Priske short template as a short short template and introduce its special features. Some poets take their poems haiku while none of them followed their principles. but declared to the Japanese poem that; Accordingly, sometimes, with the rules of your acquaintance, Priskeh has also made Persian haiku or imitation of them.

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Nadia Anjuman is one of the young poets of Afghanistan who had a very short life but was able to find a place in Persian literature in this short life. Some critics have called Nadia "Forough" of contemporary Afghan poetry because of her simple, unadulterated feminine poetry, as well as her untimely death. But this Forough, like Farrokhzad, did not reach the period of perfection and maturity. The present study is an attempt in the framework of the French school of comparative literature, in order to introduce this poet and show the historical relationship between his poetry and Forough Farrokhzad's poetry. This research has analyzed the female-centered components and efforts to achieve the real position of women in the society in the poetry of Forough Farrokhzad and Nadia Anjuman with a descriptive/analytical method. The findings of the research indicate that women are particularly important in the poetry of these two poets, and the issues related to her from various aspects such as protest against the patriarchal culture, expression of women's emotions and feelings, inequality of women's rights and oppression against them, etc. has taken. These two poets, due to cultural commonalities and living in societies with old traditions and living in unfavorable social environments, have had almost the same performance in portraying the true identity of women and their place in society. In addition to these, Nadia Anjuman, due to the traditional society Afghanistan, like Forough, has not expressed openly in women's issues and has not broken norms.