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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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Koupa ,F. ,Ph.D.

Abstract:
Literature has played an important rule in transferring, conceptualizing and conception of the issue more rapidly thought imitation and recreation of the universe facts and life image and conceptualization and human world in a sensible form. Despite the fact that literature and language enjoy the same subject, each face the various images and approaches of various basis, namely in approaching language, the language itself is a tool for understanding the universe as it is, while in literarily approach language is a raw material for universe recreation as we want to it to be. 
            This study is an attempt to put forward the commitments by the writers and his main responsibility and writing importance when the various view points are studied based on the “Literature” real meaning. 
            Meanwhile, some approving evidence, mostly from the contemporary literature, factor for human similarity and differences and other literature and human similarities, the criteria for beauty in literary works and also the rules and standards ruling the literary works have been also considered.
 
 

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The Last Lamb of Jesus and allusion to it in contemporary Persian literature

Abstract

Stories of prophets is one of the major sources of allusions in Persian literary texts that poets employ it for creation the poetic images. One of the prophets that Persian poets have attention to various aspects of his personality and life is Jesus. Persian classic poets in allusions to the life of Jesus is often considered to Islamic sources, especially the Holy Quran but contemporary poets, especially modernist poets in addition to the Islamic tradition, mention the narratives of the Gospels.Some of these allusions are rare allusions in Persian poetry and they often need to refer to the Bible and Gospels.Awareness these allusions help to better understanding the poems and enjoying of reading them. One of these rare allusions is the last lamb or sheep of Jesus in the works of Forough Farrokhzad, Mehdi Akhavan Sales, Ali Mousavi Garmaroudi and Houshang Golshiri. The purpose of this article is analyze this allusion according to Gospels and Christian traditions.

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The first political story after the Islamic Revolution of Iran is probably Sellul-e hejdah by Darvishiyan. The work mirrors the author’s memories of the prison and ideological armed struggles. In addition, this text is the first story by the author after victory of the Islamic Revolution and can be considered as the first political story after the revolution. A study of the various levels of this story shows that Sellul-e hejdah, in spite of being a memoir, is one of the best examples of political fiction. The dominant radical discourse of the 80s [1360s] manifests the confrontation of four different generations.The first generation includes those conservatives who are traditional and religious and are unable to confront the dominant discourse.The second generation includes those conservatives who are not happy with the political decadence but prefer to maintain the situation.The third group relates to those radical freedom fighters that are not satisfied with the status quo and suffer from discrimination and tend to change the society.Finally, the fourth generation includes descendants of the revolutionaries who have little knowledge of the revolution and yet their lives are tied to it.

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Ali Safaee, Ph.D.
Ali Ahmadi
Abstract
This paper intends to elaborate the basic thought frameworks of dark poetry in the west and declare its links with schools such as the Baroque, gothic novel, grotesque, absurd e.g. .Then the sub-structural elements of dark poetry in contemporary Persian poetry- which in majority of cases include some philosophical ideas and also interweaves the social and political historical situation- are surveyed in brief. Following this, the variety of this type of poetry as manifested in both Forogh Farokzad and Nosrat Rahmani's poetry are shown by making a comparison. Through the descriptive-comparative analysis method I realized that these poets are similar due to bearing concepts such as 1)grief,  2) failure 3)disappointment 4)darkness 5)loneliness 6) doctrinal abnormal words 7)mention of physical pleasure.
There are however some differences between them, as followed: 1) difference in motive for bitterness 2) different understanding on love 3) different methods for expression of humor 4)difference in creating images  and finally 5)difference in fight against the norms.
 

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Hasan Heydari,PH.D.
Ali Sabaghi, PH.D.
 
 
Abstract
 
In this paper, an attempt has been made to study rhetorical questions in the poetry of Mahdi Ikhwan Sali based on the implicit meaning of those questions as well as his poetic space based on common definitions in Arabic, Persian and English rhetorical resources. The acquired result shows that most of the poetic questions of Ikhwan Salis implicitly express frustration and disappointment. Also, often some implicit meanings are acquired from one rhetorical question in his poetry where some of those questions are not adjusted to official definitions of Islamic-Iranian rhetorical resources hence, they possess new meanings.
 

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In this project, the statement of bulk poetry has been studies based on structural, goal-oriented, and cognitive aspects.
In regard to structural aspect, this statement, via blending two literary and referential roles of language, has become further apart from the ultimate goal behind the presentation of the statement.
Role-wise, this statement has neglected one of the two main elements shaping the text; being its coherence, obstructing the conveyance of meaning to readers’ mindset.
Cognitive-wise, the said statement has violated the gestalt principles, which shape conceptual metaphors, obstructing the formation of logic, as the basis of criticism.
Ultimately, the article’s authors discussed and studied the considered text in the presence of literary and ordinary metaphors and/or absence of metaphors

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One of the prominent poets of the recent three decades, who due to a number of reasons was approved by the masses of people and elites throughout his life, was undoubtedly Qaysar Aminpour. Given his pure experience and his in-depth philosophy, he spoke of concepts which other revolutionary poets have paid lesser attention to, in the recent decades. One of these concepts is life and its meaning. Life is an abstract concept and is usually perceived within the framework of tangible affairs. The concept of life as one of the main concepts, which have occupied the minds of poets in different forms and shapes, is understood from a cognitive semantics stand within the framework of general metaphor of “Life is a journey”. This general concept can be written in different forms which provide its details. Writings such as “birth is arrival”, “Life is to last”, and “Death is departure” are presented to this end. This article studies the status of this metaphor in the poems of Qaysar Aminpour and tries to show that the majority of metaphors and literary concepts in his poems are based on cognitive foundations. The general study of this article shows that the conceptual metaphor of “going” in his collection of poems should be taken into consideration based on a cognitive semantics approach. Such studies are yet to be carried out.

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Badr Shaker Sayab and Qaysar Aminpour are the pioneers of contemporary Arabic poetry, and tasteful and innovative poets, whose poems clearly manifest and display the principles of Romanticism School of Thought, including naturism, and historical journeys.
Qaysar Aminpour is a poet, who appropriately reflects sentiments and emotions in his works; although his poems mainly revolve round suffering and pain, such that he is known as the poet who reflects hardships.
These two poets maintain similar characteristics and poetic languages in temporal and spatial dimensions and aspects. This study is based on a number of assumptions:
1- Both of these poets are committed to Utopian Romanticism School of Thought
2- Their works portray geographical journeys and enthusiasm for arrival at their homeland
3- Their works state sentiments and feelings such as pain, suffering, and love
This article has made a comparative effort to discover terms of application of principles of Romanticism School of Thought and to state the similarities and differences of the works of these two poets with these principles.

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Mohammad Parsanasab,PH.D.
Abstract
   
One of the unanswered questions of the field of literature of the Constitutional Era is the reason behind the tendency of authors of this era toward common people’s culture and inclusion of the lives of people from lower classes in their writings, especially their tales. In other words, has the authors’ inclination to study the lifestyles, language, culture, and inclinations of the lower classes of the community maintained a recreational and ultimately aesthetical nature and/or has it been rooted in the socio-political outlook of authors. In this article, in order to respond to this question and to study the terms of combination of tales with the language and culture of common people, we take into consideration one of the most distinguished and distinctive texts of the Constitutional Era, being Ali Akbar Dehkhoda’s “Charand Parand”. As a reminder, the author of “Charand Parand” has created completely different works in a variety of conceptual fields such as history, translation, and lexicography, in different phases of his life, which maintain major differences to “Charand Parand”.
 

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In order for a person to be able to see the fate of all human beings, God has advised to travel to the extent that he says, "Qol Siroo fi al-Arze" the world is so big and human beings are so diverse that every human being is erased from the creation of the world., which both of these authors have taken advantage of for their writing. In terms of writing style, they also have differences. It seems that Bastani Parisi has made his text more beautiful and simple by using jokes, anecdotes, memories, poems and proverbs in his book, which basically makes the audience of his travelogue not tired of reading and More interested than following the travelogue. His main goal of choosing this style was to focus on the audience and embellish the dry and soulless realities of travel and its events and turn them into a more literary and attractive text for the audience. On the other hand, it seems that only Shadiyag spoke about some issues, such as the issue of women and hijab, the employment of numbers and figures, the precise and detailed description of architectures, the travelogue-like reporting style that makes his travelogue even more to be noticed by the audience. It seems that this difference in the ideology of these two writers goes back to their worldview, which issues are more valuable and less valuable for each of them.
 

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The main question of this paper is to explain the role of the literary institution in the context of power relations and in particular the arrival of Iranian society into the era of Pahlavi rule. In the meantime, based on Ernest Cassirer's comments, the late literary works of the Qajar period until the first Pahlavi era was evaluated. Contrary to the prevailing approaches to text as abstract, neutral, inactive, and merely reflective of a subject or matter, Cassirer believes that texts as a system of signs are, above all, a set of practices that have the capacity to be the position of agency. On this basis, he believes that the mental construction of the new world is still influenced by myths that are produced and reproduced in various ways and with specific purposes. The results obtained and described by these works show that literature in this period, by creating a particular kind of myths and then expanding and diffusing the mythical insights into heroism and nationalist discourse, provided the basis for the emergence of the First Pahlavi rule.

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 One of the influential tools in shaping thoughts is the utilization of literary content. Following this premise, the leaders of the Soviet Communist Party established specific principles and foundations to shape and disseminate literary content, which they communicated to their followers. Similarly, the leaders of the Tudeh Party in Iran endeavored to extend the approved characteristics of the Communist Party within contemporary Iranian literature by adhering to these guidelines. Leveraging the newspapers and publications at their disposal, they successfully aligned many poets and writers with their cause. The editors of these publications translated the theories of Marxist theorists, as well as the stories and poems of writers from the Soviet Union and Eastern European countries, to propagate these perspectives among Iranian writers. Priority in selecting Iranian literary works was given to those who were in some way supporters of the Tudeh Party or whose content aligned with the objectives of Marxist literature. The leaders of the Tudeh Party utilized various methods, including publishing articles on literary theory, introducing and promoting party-approved books, presenting Soviet writers as exemplary models, and highlighting Iranian authors whose ideas were endorsed by the party.