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This article first studies the process of the formation of the art of emulation by examining its development and evolution in both Arabic and Persian literature. Then the article would compare and contrast the emulated poetry in Arabic and Persian. The hypothesis is that Persian emulation, like many other poetic forms, comes from Arabic literature. Thus the fundamental question is “How to examine the nature and quality of the similar and common features and issues of Persian and Arabic emulation?”. Thus the literal and literary senses of emulation are first studied, and then its representative examples in Arabic and Persian poetry and prose are listed. In this section, such subjects as echo, parody, burlesque, takhmis, and tadhmin are relevant examples that are introduced as the common devices in both literary traditions. In the manner of a conclusion, an analytical treatment of these writings is conducted, taking into consideration their positive and negative implications and effects.  

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In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too Parody is one of the complex and secondary literary genres that represents intertexuality.The relation between parody and deconstruction is connected to the way they act. Parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.

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Aghayed al Nesa written by Agha Jamal Khansari is one of the precious works pertaining to the folk literature. This book  is regarded as one of the important sources to know about women in the Safavid period. Not only This book reflects women’s beliefs and behavior but also the relation among women and others in the society. Regardless of its conceptual importance, the book has a major structural feature. It has been composed in parodic form. Parody is one of the neglected satire forms and needs to be studied more. Study and analysis of this text will be done by reference to the first and second sources, and will show its value and importance

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We are aware of ten collections of verse under the title of Karnameh in the history of Persian literature.It is a collection of verse in the form of heroic couplet in which the poet reproaches the court members by using a parodied language. It is an independent literary genre used for less than two hundred and fifty years in Persian poetry. Some famous Persian poets have composed Karnameh. Because of its importance, mostly Sanâee Karnameh has been mentioned in books and articles on Persian poetry and other Karnamehs have been considered as a part of Shahrâshubs or an Ikhwani poem. There is no entry for Karnameh in dictionaries and encyclopedias. In this article, while introducing Karnameh in Persian, its form, theme, audience, structure and intertextual relations are investigated and it is shown that Karnameh is a special literary genre.

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Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

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Nuh Manzar is one of the lesser-known educational narratives and the only parody of Nizami’s Haft Peykar in Persian literature that was kept unedited and unpublished till recently. The present article attempts to criticize the fictional motives of Nuh Manzar and propose a rather comprehensive description of its characteristics.  This research is basically in two parts. In the first section, the origin, time and place of the compilation, the narrator, reasons for its title, the subject and theme, the style, the expression, and the literary genre are identified. In the second part, for the qualitative analysis of the subject, the main motives of Nuh Manzar are criticized in three parts: influence of Shahnameh, Ayyari, and lyric motives

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To challenge the authority of Grand Narratives is a dominant feature of postmodernism and, naturally, postmodern writing. Amongst these grand narratives is History. Historiographic metafictional novels – as postmodern works of fiction – challenge the objectivity of History and reinterpret (or, better said, demystify) the historical record. The writers of these novels seek to show the multiplicity and textuality of history. Therefore, history in these works of fiction is a discursive construct and has an intertextual nature; and as a discourse it is constructed in and through language and is thus open to rewriting and recontextualization. The present paper examines two historiographic metafictional novels in both English and Persian literatures, namely, Graham Swift's Waterland (1983) and Hamidrezā Shāhābādi's Dilmāj (2006), in order to reveal the extent these novels have transformed the conventions of historical fiction.

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