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By looking at Afghanistan novel writing and its ups and downs, some realities about intellectual and literary developments of this society become clear for the audience that require extensive research. One of these realities is Modernism and Postmodernism in the fictional literature of Afghanistan which links the Afghan novelists' society with the contemporary fiction writing society and illustrates the life aspects of an Afghan, especially the life of intellectuals in this country. This article is an attempt to reflect the important Modernist and postmodernist trends of novel writers in Afghanistan through a descriptive-analytical approach by exploring the contemporary novels in Afghanistan after the coup of 7th of Sur (April), 1357. The results suggest that we cannot speak of institutionalization of modernist and postmodernist novel writing in the fictional literature of Afghanistan, but there is an increasing growth of elements and components such as identity crisis of fictional characters, consequences of war and migration of  Afghan men and women, attempts to deconstruct the opposition of man / woman in Afghanistan’s male-dominated writing system, representation of intensive confrontation between traditionalism and modernism, etc. This indicates the emergence of new literary styles in fictional literature in Afghanistan, Quasi-modernist and sometimes Quasi-postmodern styles, which often have been adapted by emigrant intellectuals, following and imitating the western techniques of fiction writing.

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Feministic criticism concerns the function of specific feminine cultural and ideological constituents in literal works. In its approach to narrative this kind of criticism follows two methods. First, the attributes of women and their role and personality in course of the story, and second a critique of women presented which studies female authors. Sorkhi-e-to az man by Sepedeh Shamlu is one the feministic novels, which concerns the world of women in recent years. It has attracted the attention of many readers interested in Persian contemporary novel. Considering the importance of this novel in the process of feministic narrative writing of post-revolutionary Iran, this paper attempts to explore the elements of feministic narrative following an analytic-descriptive method. The findings of this paper show that this modern novel seeks to cast doubt on the differences of men and women through a deconstruction method. The female characters of the novel consider their identity and situation to be molded by imposed patriotic social relations, which are created by men and the dominance of masculine language. By considering the beliefs, worldviews, emotions, privet parts, women’s feelings of disgust and fear, lewdness, objection to masculine gaze, choosing short sentences, etc. in the text the researchers attempt to highlight the feminine style of writing.

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Non-verbal communications could be a part of visual signs that, because of their importance in interpersonal relationships and transition of meaning, are highly regarded by psychologists and sociologists. One of the major subdivisions of this topic is called "Body Language" that has existed in all human societies since ancient times. These non-verbal signs, some thousands of years old, have cultural and rhetorical functions, with common and sometimes conflicting aspects, in the cultures and social traditions of different tribes. The more ancient and comprehensive the literary context of a piece of research is, the more valuable that analysis in explaining the cultural, social, and even aesthetic aspects of texts will be. Shahnameh of Ferdowsi, as a representative of Iranian culture and thought in prehistoric age up until the Islamic era, can be the best representation of metalingual communicative performance in Iranian cultural history. Due to the prototypic nature of characters in Shahnameh, many of their non-verbal signs can also be considered the archetypal source of the behavioral interactions or body language of the Iranian people when in the context of epic their national and social identities as Iranians are formed. In this article, attempts has been made to decode these obscure and complex cultural concepts by exploring the "body language" in non-linguistic acts of main characters in Shahnameh. The results of this research demonstrate that the body language of characters in Shahnameh is not accidental but totally conscious. Indeed, the purpose has been to draw the attention of the readers to rethink the patterns of individual and social behavior of Iranian and non-Iranian ethnicities so to recognize the cultural identity mainly through irony and symbolism.

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One of the elements in Persian poetry and sonnets (Ghazal) is penname, which in addition to marking poetry in the name of the poet, sometimes has an amphiboly to another means; but in the poetry of poets such as Hafez - which have a special and coherent intellectual system - in the form of a main metaphor or central metaphor, penname is involved in determining their intellectual system. In this article, Hafez's pennames are analyzed from the perspective of semantic components, such as the confrontation with the specific vocabulary, which are derived from Hafez’s intellectual and biological sensibilities, in the text of the poem. It concludes that his poetic name is also influenced by his language and thoughts; and by means of the meaningful capacity of some words, he serves the translation of the structure of thought and the semantic system of his poems; and also the penname, Hafiz, is in fact the central metaphor of his sonnets, and plays a central role in his intellectual and discursive system.
 

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