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Maryam Dezfoulian Rad, Qolam Ali Fallah, Farzad Baloo,
Volume 28, Issue 88 (7-2020)
Abstract
So far, many thinkers with different approaches have studied the concept of “the other” and its examples in various aspects of human life. Literature has also attracted the attention of researchers and interested scholars as a platform for representing examples of “the other”. In addition to recognizing the place of “otherness” in the worldview of individuals in different eras, studying examples of “the other” in the literary texts has also made it possible to delimit the realm of “I”. In this paper, using an analytical method and adopting an eclectic approach, the researchers studied the potentials of Rumi’s Mathnavi in representing the types of “the other” and in realizing the levels of otherness of “the other” and its place in the mystical worldview so as to gain a relative knowledge of the structures that govern mystical thoughts. To that end, we first explained the concept of “the other” in three intellectual-philosophical systems, namely contrastive, dialectical and intersubjective, and mentioned examples of “the other” in verses of Mathnavi. Then, we presented a reading of the levels of realization of otherness of “the other” and the conditions of their possibility in this text. From a general point of view, due to the contrastive structure of the mystical worldview and the definition of “the other” as an “alien”, the realization of high levels of otherness in the text of Mathnavi cannot be expected, but the narrative of the experience of union and depicting the inability of “I” to understand “the infinite other” can be regarded as representation of the highest level of otherness. Meanwhile, in the distance from the “alien” to “the infinite other” and through dialogue, a level of otherness is also represented in the relationship between the characters in some stories of Mathnavi.
Narges Salehi, Mohammad Reza Haj Aghababaie,
Volume 28, Issue 88 (7-2020)
Abstract
Feuilleton is a writing genre which came into existence after the emergence of the press and the reasons behind its creation can be listed as compensating for the shortage of book publications, providing a new way to present long texts, and keeping and increasing the readership. Taking a history of literature research approach, we investigated this writing genre and its applications in the Iranian press from the outset up to the year 1320 SH (1941). While serialized stories have comprised the majority of feuilletons in the press, various topics such as plays, travelogues, biographies, and historical texts have also appeared as feuilletons. In the early Iranian press, various terms were used for this genre, such as ‘ghesmat-e tahtāni’ [bottom section], ‘fiton’ [feuilleton], and ‘zeyl’ [appendix / footnote]. It was Ettehad-e Eslam Newspaper that first used the term pāvaraghi [~footer / footnote / = feuilleton] which was gradually picked up by other publications. The first feuilletons were published by Etemad al-Saltanah in Iran Newspaper and mostly had historical themes. The first fiction feuilleton was the novel neyrang-e siyāh ya kaizāne sefid [The Black Deception or White Maids] by Mohammad-Taqi Bahar which was published in Iran Magazine in 1298 SH (1919), and the naming by certain researchers of the novels tehrāne makhōf [The Dreadful Tehran] or dah nafar qezelbāš [The Ten Qizilbash] as the first fiction feuilletons lacks scientific rigor. The most important feature of this genre is its serialization, and variety in its topics. Considering its style of writing, no particular linguistic feature can be attributed to this genre; rather, the style of writing in this genre follows the style of its authors or translators.
Hamid Abdollahian, Samira Shafiee, Atefeh Zandi,
Volume 28, Issue 88 (7-2020)
Abstract
One of the approaches to the criticism of fiction that has changed a lot from a linguistic point of view is Roger Fowler’s linguistic theory. This theory is a mixture of Chomsky’s transformational grammar and Halliday’s functional linguistics theories. The story of Golshiri’s “Khaneh-ye-Roshanan” was written in the mode of stream of consciousness, and Fowler believed that in such stories, the surface structure helps to understand the deep structure. The present paper analyzed the story of “Khaneh-ye-Roshanan” based on Fowler’s linguistic approach using the descriptive-analytical method along with library research tools. The results of the study indicate that the types of transformations and the mode of stream of consciousness in this work cause shifts in syntactic structure of sentences, non-compliance with grammatical rules, repetition of pronoun references, creation of rhythm and music in speech, application of associative contrasts, repetitions based on emphasis, confusion in the readers’ minds, and creation of suspension and postponement in speech. The main characters of this work, the actor and alternating narrators, are all passive and sensory-perceptive. It is as if they should not utter a word against the dominant ideology of the text, which would disrupt its monotonous atmosphere. In this work, like the rest of his works, Golshiri wanted to delve into the problems of society and to dominate his interventionist judgments in the text. In terms of looking at the text, the author sometimes dealt with the text from an external perspective and did not consider himself to be able to understand the perceptions of the characters in the story, while he sometimes explored the text from an internal perspective and assimilated his cognitive tendencies into the text. In terms of representation of speech and thought, both direct and indirect speech were used in this work. Both methods could reveal as much as possible the internal and verbal secrets of the main and secondary characters.
Rooyintan Farahmand,
Volume 28, Issue 88 (7-2020)
Abstract
In his lyricism and eloquence, Hussein Monzavi benefited from the great heritage of lyrical and epic literature, poetic images, fictions, and religious allusions in order to create imagery and expand the meaning and themes of his poems. The Divan of Hafiz is one of the main sources of influence on Monzavi’s poems in terms of form, meaning, and musical coherence. He also benefited from borrowing Hafiz’s clauses, rhythm, allusions, verses, and sonnets. Love and the hardship in its path, pledge of trust, drinking merrily, and social issues are the themes in Monzavi’s poems which were under direct influence of Hafiz. Monzavi’s imagery of love and its manifestations has similarities with Hafez’s poetry. The present paper is an endeavor to investigate the influence of Hafiz on Monzavi in terms of form, rhythm, meaning, love, the image of the beloved, and imagery. The findings indicate that Monzavi benefited from Hafiz’s single elements, rhythms, and themes in about two hundred instances.
Saeed Karimi Qarababa,
Volume 28, Issue 88 (7-2020)
Abstract
Nizami Ganjavi is a well-known literary figure in Iranian cultural history whose influence has not been diminished in contemporary era. The scene of “Shirin bathing in a fountain” is one of the most prominent scenes of Khosrow and Shirin poem which has been the focus of attention for many modern poets. Following a content analysis approach, this study attempts to explain why such a scene has been so rich and influential in contemporary poetry. The scene has been impressive in two ways: In the first, and the most important type, the whole poem is dedicated to this scene, and in the other type, the poets have only partially referred to the scene. In this paper, it is argued that the scene of Shirin bathing in a fountain is a romantic theme and since some poets were influenced by romanticism – at some points in their professional career – they were fascinated by this scene. Rebellion, violation of moral boundaries, attention to local legends, mythological manifestation of a woman/the beloved one, metaphorism, dynamism and maturity of the scene and its vivid expression, the vague location and time of the event as well as the naturalism of the scene have been parameters of the romantic poems and images most of which are represented in the studied scene. Another attraction of the scene is its eroticism. This classical image has the potential to arouse sensual attraction and to reflect both physical and feminine tensions of our time and to give an indigenous identity to modern poetry.
Effat Neghabi, Mahnaz Akbari,
Volume 28, Issue 88 (7-2020)
Abstract
Semiotics is a research approach which evaluates the signs to understanding the hidden meaning in the context. This approach which utilize linguistics, sociology, and literary criticism, is an efficient way of analysis. Semiotic analysis of travelogues provides an opportunity to a new reading and better understanding of them. Moreover, semiotic analysis can clarify the role of travelogues in delineating and representing the social and cultural status of societies. Based on Pierre Guiraud’s theory, this paper attempts to reveal the hidden aspects of identity, culture and social customs of explored lands by reviewing the social signs in Haj Sayyah travelogue, which is the longest travelogue of an ordinary person with regard to time and place during the Naseri Era. Using a descriptive-analytic method, this study compares and sometimes contrasts the Iranian-Islamic culture with the European culture and the confrontation of human beings with themselves and the environment. The findings show that religious beliefs and issues, as signs of identity, are the most important concern for the writer who dealt with them critically both inside and outside of Iran. As a young clergyman, his excessive attention to holy places like mosques, temples and churches suggests his religious identity.
Phd Sina Bashiri, Ghodratollah Taheri,
Volume 31, Issue 94 (6-2023)
Abstract
Modern art and literature transformed the foundations of modern aesthetics by paying attention to the negative and unconventional philosophical topics that did not play an important role in classical aesthetics. “Death” is known as one of the central elements of modern literature based on the thoughts of the existentialist and post-structuralist schools. In the modern novel, death plays an essential role in the structure and texture of the story in terms of content, language, and art; and many of the aesthetic aspects of the novel revolve around it. Sadeghi, as one of the leading writers of Iran, made “death” the subject of his novel, “Malakut”, and used many of the literary aspects of his work around this concept. In this research, using the descriptive-analytical method, the aesthetic aspects of death in “Malakut” have been analyzed, which are tied to other components of modern aesthetics. The findings of the study show that the relationship between death and other components of modern aesthetics such as paradox, absence, and ambiguity has led to the importance of the dark aspects of existence as well as the rejection of the work based on the classical and conventional standards of aesthetics.
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Volume 31, Issue 94 (6-2023)
Abstract
Summoning and recalling the past is the result of social and political crises of the present. In order to legitimize and confirm the rulers, Muslim writers tried to match the schemas of ancient times with their contemporary examples. In such adaptation, the existing king was compared to the ideal king and his performance was compared to that of the Golden Age of Iran. The centralized and organized historiography of the Sassanids narrated the story of Mazdak in order to legitimize the power and performance of the Sassanids and created an ideal image of the era of Anushirvān and his justice. Khājeh Nizām al-Mulk, who was in charge of the ministry in a turbulent era, was searching for an ideal government in the era of Anushirvān. To deal with the Ismaili movement, he resorted to the example of the killing of the Mazdakians by the Sassanid government in the final part of Siyāsatnāmeh, and by reconstructing the historical patterns, he not only confirmed the killing of the Mazdakians, but also legitimized the suppression of the Seljuk opponents.
Majid Houshangi, Arefeh Hojjati,
Volume 31, Issue 94 (6-2023)
Abstract
In the period of new criticism and with the formation of new methods of narratology, several patterns emerged in the field of narrative recognition and criticism. In the meantime, Greimas’s model, inspired by Propp’s narratology, and relying on the philosophical principle of contrast, tried to analyze narratives based on the six actants of subject/object (goal), helper/opponent, sender/receiver in a new text analysis system. On the other hand, Suhrawardi, in a pre-textual style, and relying on his philosophical data, used the language of narration and allegory to explain his thoughts in such a way that some of his narrations can be analyzed from the perspective of Greimas. Based on a descriptive-analytical method, this research has analyzed the structure of contrasts in Fi Halat al-Tufulliyah treatise. The results indicated that the structure of this narrative is in a layered and nested form, arisen from the thought characteristic and dominant patterns in Suhrawardi’s mind and the presence of actants in this narrative can perfectly be seen and in some micro-narratives it is in the fluidity of roles. On the other hand, despite the presence of all three action elements in the macro-narrative and micro-narratives, the dominant action element can be considered as a covenant that plays a role in the attractiveness of the narrative compared to that of other Suhrawardi’s treatises. Finally, the object/goal alignment in the macro-narrative and the other four micro-narratives would lead to the prominence of this goal i.e., “reaching peace” in his thought system.
Ms Narges Bagheri, Phd Mohammad Nabi Tavallaei,
Volume 31, Issue 95 (11-2023)
Abstract
The term “trauma” is used to refer to a situation in which a person’s psyche is harmed by a traumatic event. Žižek argues that trauma is the result of unexpected intrusion of the Real (event) into the Symbolic (symbolization) and acquires meaning in the structure of the Deferred Action. People’s reaction to any traumas is acting out or working through. In the acting out process, the patient displays sign of mental disorders like nightmares, yet in the working through, the patient hides mental suffering in the subconscious and fantasies and transfers the sufferings to another place by means of creating a fetish narration. Regarding the psychological nature of the trauma, the patient is unable to convert it into the Symbolic, and this psychological problem can be recognized only by its symptoms in the person. However, psychologists believe that the only treatment for trauma is to change it to the Symbolic. This study aims to investigate the way of representing trauma in the novel The Dead Dolphin by Hassan Bahrami. The findings show that he has successfully overcome this challenge by utilizing magic realism and its imperceptible combination with trauma features. Through combining local myths with trauma and taking advantage of their dual and contradictory nature, Bahrami has created a strong link between trauma and magic realism and portrayed the character’s trauma. This study proves that magic realism is a proper technique for writing psychoanalytic novels to represent and symbolize people’s trauma.
Ali Rezā Nabiloo, Maryam Hāmoongard,
Volume 32, Issue 96 (4-2024)
Abstract
The story “Zan-e Ziadi” is one of the nine short stories in a collection of the same name, which was first published in 1952 during the lifetime of the contemporary writer, Jalal Al-e Ahmad. The central theme of all the stories in this collection is women, and the author has depicted their sorrows and problems from a critical perspective. This article examines “Zan-e Ziadi” from the perspective of deconstructive criticism. Deconstructive criticism, also known as deconstruction or constructionism, was developed based on the theory of the French philosopher and theorist Jacques Derrida (1930-2004). This term was first used in philosophy and then in literary criticism. The basis of deconstructive criticism is to find hidden binary and contradictions within the text, as by uncovering these binaries, one can discover the hidden layers within the text. According to Derrida, the internal binaries are hierarchical and stair-like, and one part is given superiority over the other, but upon close examination of the text, it becomes clear that none of the binaries have superiority over the other and are in fact complementary to each other. Deconstructive criticism is based on examining accepted assumptions, deconstructing, and revealing textual contradictions and the readers must search within the text for everything they need to know. The conflict in “Zan-e Ziadi” is superficially based on the contradiction between human and human, man/woman, and internally between human and false cultural and social beliefs and traditions. After examining the binaries within the text and identifying the conflicting forces within it, it becomes clear that contrary to what appears from the surface of the text and in the initial reading, the dominant pole in the text and the transcendental signified on which the internal challenge of the text is based is not an oppressive man against an oppressed woman, but rather both the man and the woman are captives and subjugated by false and imposed beliefs of their time, and the two binaries advance the story alongside harmoniously with each other.
Ali Taslimi, Farideh Faryād, Firouz Fāzeli,
Volume 32, Issue 96 (4-2024)
Abstract
For Kristeva, each text is the result of its preceding textual network. Hence, to decode a text, one must consider this textual network. Authors and poets have always benefited from previous texts. This is sometimes done as legendism which is nothing but rewriting and recreating legends, and does not help literature much. However, “trans-legendism” has a different approach that can be a cause of literary transformation. Trans-legendism does not just refer to legends by way of allusion and referencing but transforms the past texts by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of the new text. In the novel Spells, we are faced with three methods: legend-telling, legendism, and trans-legendism. In The Blind Owl, too, the writer has transformed the text of the past through the use of multiple legends and myths. This article investigated the two novels based on trans-legendism or legendary intertextuality. This study concluded that both novels have benefitted from legends even in opposition to legends.
No Ebrāhim Hasanaklou, No Rezā Cherāghi,
Volume 32, Issue 96 (4-2024)
Abstract
The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting stories of Bidel Dehlavi, his autobiography, from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story’s main character based on three significant Lacanian stages of the unconscious: the Mirror Stage, the Symbolic Order, and the Real Order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian concepts of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel’s story encounters a huge void. To fill this gap, he strives to identify himself with the other or the picture that his friend, Anub, has painted. The shattered subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic Order, he would suffer alienation and distortion. Hence, by clinging to Fantasy, he endeavors to keep the illusion of being perfect. However, by stepping into the Real Order and facing the trauma of this stage and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The findings of the current study indicate that the main character (Bidel) passes through the Mirror Stage with an imaginary identification of himself, then faces the alienation of the Symbolic Order, and in the Real Order, as a psychotic subject, he is baffled between Fantasy and Reality and commits a symbolic suicide.
Hossein Bahri,
Volume 32, Issue 97 (1-2025)
Abstract
Abstract
The Persian translation of The Adventures of Hajji Baba of Ispahan by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation, and other fields of humanities have studied its various aspects. However, so far, no research has studied the reception of this translation by Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected, and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the Persian translation receptions discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods, the Persian translation of The Adventures of Hajji Baba of Ispahan was of interest to the literary taste and in line with the expectations of the readers, including those of writers, critics, and researchers. It continues to be widely received by the readers, which has made this work enduring and popular.
Mehdi Nourian, Hadi Noori,
Volume 32, Issue 97 (1-2025)
Abstract
This article seeks to critique the elitism in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it carries out a deconstructionist reading of Jalal Al-e-Ahmad’s story titled Farewell from the collection Sitar (literally: Three String Musical Instrument). The book contains 13 stories of Al-e-Ahmad published in 1948. The current study was conducted from the perspective of the French philosopher Jacques Derrida and employed the eight-step strategy of David Boje as a postmodern critical analysis in dealing with the narrative. Boje’s method includes searching for duality, reinterpreting hierarchies, discovering rebel voices, revealing the other side of the narrative, negating the plot, finding exceptions, tracing between the lines, and resituating. The article follows each of these steps to bring about the deconstructionist reading of the story. After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchical dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted so the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced with a tragic one, exceptions were found, and between the lines were read. Based on Boje’s strategy and adopting Jacques Derrida’s deconstructionist approach to read Farewell, a new narrative emerged that made possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s. It is necessary to go beyond the person of Al-e-Ahmad and get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative that emerged from the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts himself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to accomplish what he calls an intellectual mission.
Sinâ Bashiri, Qodratullâh Tâheri,
Volume 33, Issue 98 (5-2025)
Abstract
Life in the modern world is accompanied by anxiety, meaninglessness, and despair, which ultimately culminates in the inescapable fate of death – a theme that has become a central focus in modern art and literature. Due to his pessimistic worldview and his fascination with the concept of death, Hedāyat made the existential impact of death on human life the subject of many of his stories. In Hedāyat’s works, most of the characters suffer from a kind of isolation, pessimism, nihilism, and neurosis, which in many cases lead to their death or suicide. In this article, using a descriptive-analytical method, the fundamental significance of the concepts of "madness" and "terror of death" and the function of madness in confronting the terror of death in Hedāyat’s stories, Buried Alive (Zendeh beh Gur) and Three Drops of Blood (Seh Qatreh Khun), were analyzed. The findings showed that in Hedāyat’s stories, by rendering modern life futile and meaningless and by emptying individuals’ minds, madness plays with death and the terror arising from it, and liberates the characters’ minds from existential anxiety and concerns. By renouncing life before death and making an ironic use of suicide, madness ultimately frees the individuals from the terror of death.
Narges Oskouie,
Volume 33, Issue 98 (5-2025)
Abstract
This article, adopting a phenomenological approach and focusing on the fundamental concepts of Heidegger’s philosophy, provides an ontological analysis of Khābnāmeh (dream narrative) by Yaghma Jandaghi, centered on existential questions. It examines the representation of dream/death and being within the framework of Dasein’s experience. In Heideggerian philosophy, Dasein refers to the questioning being, continuously engaged in the pursuit of meaning and identity in relation to time, death, and other existential dimensions. In this study, dreams and sleep are considered not only as contexts for Dasein’s lived experience but also as liminal conditions between life and death, providing a field for the emergence of existential tensions. From a psychological and ontological perspective, these states offer an experience akin to a rupture from everyday life and an encounter with the most concealed aspects of human existence. Drawing on key Heideggerian concepts related to Dasein and fundamental ontology, such as “hiddenness,” “existential anxiety,” and “being-there/being-in-the-world,” the study demonstrates that dreams, conceived as death and as figurative experience, position Dasein on a trajectory that confronts the hidden dimensions of existence and self. Furthermore, Dasein’s internal conflicts during the processes of dreaming and awakening reflect the fundamental tension between authentic and inauthentic possibilities of being, which can simultaneously be interpreted as a symbolic manifestation of the existential struggle between good and evil in Heidegger’s philosophy. Consequently, the dreams in this work symbolically invite Dasein to face the truth, make existential choices, and recognize human limitations, thereby facilitating a deeper understanding of being and human identity.
Hâmed Dâlvand, Mohammad Khosravishakib, Safiyeh Moradkhani, Rasul Heydari,
Volume 33, Issue 98 (5-2025)
Abstract
The story of “Rostam and Šaqâd” is one of the most technical and coherent narratives in the Šâhnâmeh. In this story, the most prominent hero, Rostam, is removed from the narrative flow. His interest and attachment to Rostam caused Ferdowsi to show great sensitivity and obsession in removing Rostam from the narrative. In order to remove this national figure, Ferdowsi had to exert a lot of linguistic and psychological precision to make the death of such a great and invincible character appear reasonable. As a concrete and systematic approach, new criticism attempts to show the verbal patterns, harmony, coherence, and the internal unity of the components in a work by giving authenticity to the text. The premise of this article is that Ferdowsi tried to make the death of a hero like Rostam believable to the reader by using categories called “trust game” and “emotional deception”. Premises such as “charming”, “persuading”, “creating crisis and urgency”, “creating astonishment”, “transforming my story into ours”, “collusion”, “attracting trust”, “accelerating trust”, and “conspiracy” make Rostam’s murder believable to a great extent. In this article, using the method of qualitative and precise description and analysis of the text, an attempt is made to evaluate Ferdowsi’s linguistic and psychological premises for the justification of the death of his great hero.
Dr. Alireza Mohammadi Kalesar, Ms. Fariba Torabi,
Volume 33, Issue 99 (10-2025)
Abstract
Proportionality as an element in history of literary criticism has a key role in GolamHossein Yosefi’s critique. The purpose of this article is to study the nature, types, and consequences of proportionality in literary criticism according to Yousefi’s works specially CheShme-ye Roshan, Didar Ba Ahl-e Ghalam, Yaddasht-ha, Kaghaz-e Zar, Barghaei Dar Aghoosh-e Bad. This paper have studied His attitude of proportionality, the types of proportionality in his works, and the relationship with other components of literary criticism. It can be said that Yousefi applies a wide range of vocabulary to refer to proportionality. For him, types of proportionality also include the proportion between character and his nature, the proportion between different parts of the text, the proportion between formal and content elements. He applies proportionality in relation with some elements such as ellipsis, periphrasis and imaging. according to Yousefi, Thus, observing various types of proportion is a strong point of a text and has consequences such as unity and coherence of the text, realism and credibility, and impact on the readers. In Yousefi's criticisms, (a) no precise definition or description of the aforementioned components is provided, as if everyone agrees on their meaning. This naturalization of concepts is one of the features of Yousefi's view of literary criticism. (b) Despite his theoretical emphasis on the necessity of proportionality between form and content, in practice, it seems that content is more important than form; as formal elements are described by content characteristics. (c) From an evaluative perspective, he considers the types of proportionality and its consequences to be the advantage of a literary work. finally, Yousefi's view of proportion is most indebted to the classical and neoclassical view of this criterion.
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