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In this research two kinds of critical approaches are introduced and then some examples of these two approaches are selected and discussed. The aim of this article is to consider the critical fields in Constitution period in Iran, which is counted as the turning point in passing from tradition to modernity. The first approach, in-group criticism, is criticism among the members of one group; the second approach, out-group criticism, is done among the members of two different groups. The example selected for the first approach refers to the “Association of the Faculty” and its two members Mohammad TaghiBahar and Abbas EghbalAshtiani, who stand for Neoclassicism. The second example refers to the “Association of the Faculty” and Bahar in particular and Tajaddod-e Tabriz Journal and TaghiRafat at its heads. The latter group represents revolutionary Romanticism. The method of this research is based ontextual analysis.The analysis of the content of these two approaches shows that the in-group approach in Constitution period was more moderate compared tothe out-group approach and sometimes personal prejudices had a role in the process of criticism. There has been difference in taste in the first approach, and in the second approach the difference is in thought and ideas. If approaches like these could have changedinto movements, they could have been useful in criticism of literature and also in widening the field of criticism. These two approaches, however, had been stopped gradually. Moreover, out-group criticism is considered as the opposition of Neoclassicism and Romanticism in Iran. 

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Narratology, which is the one of the achievements of structuralism in literature, helps the critic to analyze various stories at two levels of story and discourse by studying the role of functions and actions .At the story level, the critic can discover similar narratives in terms of episodes, characters and settings by ignoring the historical, cultural and social differences. With this in mind, The Shahnameh Stories "Zal and Rudabeh", "Bijan and Manijeh" and the "Romeo and Juliet" play by Shakespeare is worthy of comparison and evaluation. All three stories narrate the love of lovers from two feuding families who face many obstacles in their way to :union:. With this level of analysis, we can find out what actions and functions cause the fate of the heroes of these stories. At the discourse level of narrative, Ferdowsi and Shakespeare's status as the narrator can be specified and their orientation and worldview can be sought in text through analyzing the  language in the context. Through discourse analysis and the narrative codes, the underlying beliefs, traditions and culture can be perceived in the aforementioned narratives.

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One of the themes of romances is the fighting of the beloved. In Iran's mythical and legendary history names of women and mistresses like Golshah, Sarvkharaman, Gordafarid, Azra, and Sanambar are found who used to come to the battle field with their lover sand defend them like a male warrior. Such actions are extant in the greate pics or their reproduction and they have been so frequently repeated in romances that they have been turned in to regular themes. In this article the researcher attempts to introduce these poems and their beloveds and show the actions of the female warriors. Ten Stories are studied in this article, including Bano Goshasb Nameh, Rabe’e and Baktash, Sohrab and Gordafarid, The Iranian Princess in Thousand and One Nights, Heydarbeyk and Samanbar, The Killer Hero, Gordiehand Khosrow Parviz, Varghe and ​Golshah, Vamegh and Azra, Homay and Homayoun. 

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Zarrin-gabā Nāmeh is one of the unknown epic poems, which has been named Asadi’s Shāhnameh, Rostam and Soleymān and Zarrin-gabāye Haft Lashkar in three different manuscripts. Its Shiite poet is unknown and probably wrote the poem in the Safavid period. The events of the story happen during Keykhosrow’s reign in Iran and the life of Soleyman the Prophet. It begins with the arrival of Zarrin-gabā, Soleyman’s messenger, to Iran to call the Iranians to accept the religion of Soleyman. Zarrin-gabā Nāmehis written in 23533 lines and it is mainly about Rostam and his sons including his grandchild Zarrin-gabā. The structure of these verses is narrative and folkloric.

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Fariba Wafi is a successful writer who described the family and social life of contemporary Iranian women and bringing them into the real-life stories trying to show their problems. This research is an attempt to investigate Fariba Wafi's collection of short stories Even when We Laugh by following Fairclough's approach to critical discourse analysis. In Fiarclough's approach, a text is checked on three different levels. The three levels are: 1. The description level, which is based on formal analysis, grammar, vocabulary, pronouns, verbs and adverbs modality; 2. The interpretation level of the text, which is based on situational context and analyzes the intertextual factors; and 3. Explanation level that explains the production of texts and the dominant discourse and ideology and power play in the text. Discussing the text of the stories on all three levels reveal the following points: 1. Description and use of the words "wife" and "husband" and frequency indicative verbs and adverbs reflect the author's commitment to the truth of the prepositions of the story 2. The frequency of the pronoun "we" reflects the author's identification with all women. 3. In the interpretation of this collection, she questions the living conditions of women under the influence of feminist writers, such as Virginia Woolf and Simone de Beauvoir 4. In the explanation, it is clear that the women's stories depend on the patriarchal power of men. Although in Wafi’s short stories, women live in today's world and apparently are freed from the shackles of traditional society, in reality they are under the dominance of the psychological and male-dominated society and the patriarchic traditions, so that their identity depends on the presence of a man like husband, brother, and the like.
 

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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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This study examines the narrative approach of Shahnameh by Ferdowsi based on Bakhtin’s dialogism. The logic of dialogue, a narrative that describes the relationship between different views through dialogue and interaction and considers dialogue as the only way of communication. Dialogism is supplemented by concepts such as "polyphony", "the other voice" and "Carnival". One of the necessary constituents of carnivalistic life is laughter. In Shahnameh there are three kinds of laughter, one of which is considered closer to Bakhtin’s laughter; it is a laughter that causes ridicule and humiliation. Other types of laughter are those of joy and an analogy of nature. In this article the carnivalistic laughter and laughter in Shahnameh are compared with each other to find out the correspondence between dialogism and Shahnameh. In this study, we attempt to study the word "laughter" and its derivatives in Shahnameh using descriptive-analytic method and evaluate it on the basis of Bakhtin's theory of dialogism, and also find out its similarities and differences with Bakhtin's carnivalistic laughter.

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In Early Modern Persian prose and verse, verbs with a present stem accompanied by grapheme "-y" have been used to express modal concepts of imperative and command or invocation and request. Researchers, regardless of the historical changes of Early Modern Persian, believe that this structure of  subjunctive 2^nd person singular has been used to express imperative mood, and that "bâyad" has been deleted from its beginning, and the ending "-y" in these verbs encodes 2^nd person singular. Reviewing the historical background of this structure and mentioning different moods with multiple evidence from Old Iranian languages as well as Zoroastrian Middle Persian, this article concludes that "-y" in the mentioned structure is the remnant of the optative-making morpheme, and that the structure of present stem accompanied by "-y" is the optative mood which indicates the concept of command or invocation.

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In the words of the poets, there are motifs that in addition to being frequent and extensive are linked to the knowledge and epistemology of the narrator. Among them, the "tree motif" in NaserKhosrow’s poetry and prose with a frequency of at least 177 times is one of the central themes and images which are rooted in the poet’s intellectual and religious beliefs. NaserKhosrowhas often used this motif in two major ways: First as an image of the universe in the form of a tree with human beings as its fruits, and second as an image of a human being in the form of a tree with his moral traits as the sweet and valuable fruits as well as his immoral traits as bitter and harmfulfruits.In the present study, in addition to investigating the background and origin of this theme, its different aspects have been analyzed. The results indicate the special and unique importance of tree in the poet’s mind and imagination and also the impact of Islamic teachings and Ismaili works and theories on the poet increatingsuch themes and images.

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Narrativization is an efficient manner to create literary texts, especially didactic ones.Two significant didacticpieces of literature, namely,KalileveDimne, and Golestan, have used the same method to convey their messages. This study investigates the narrative of fear and anger in the stories of these two books that have anthropomorphic animals :as char:acters. This article aims at analyzing the narrativization of fear and anger through the study of the language of narration, modes of action and expression of the actors who experience both emotions,andalso theirmotivations and the results of their actions. Some differences can be noticed in the language of narration, social class and the gender of the actors that is the result of the two authors’different perspectives, the purpose of their writings and the different origins of stories.

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Ahli Torshizi is a poet of late ninth century A. H. and contemporary with Soltan Hussein Bayqara. His Divan was published about 50 years ago by Simon Israeli and OmraniChamraghi; yet, the biographical notes about his life are discordant, confused and at times distorted.In the later books, he is named as Muhammad ibn Yusuf, and Nafisi and consequently HadjSeyedDavoodi believe that he went to Tabriz after the decline of the Timuriadsand entered the court of SoltanYaghoub. He is also named as the author of Saghinameh and the translator ofTohfatolSoltan Fi ManagebolNaman.Akhtar Khan Hogoly, ModarresTabrizi, NazmiTabrizi, and OmraniChamraghiall have also claimed that he was originally from Tabriz but because he was born in the city of Tarshizi, he is known to be of this city. On the other hand, some great biographers claim that there is a poet known as AhliNavaei or AhliChagatai who was contemporary with Ahli Tarshizi.Investigation and analysis of allthe differences and the diversions in the biographical notes on Ahlicannot be explained here. However, this paper aims to carefullyanswer the following questions:
1. Was his name Muhammad ibn Yusuf?
2. Did Ahli compose Saghinameh?
3. Has Tarshizi translated the book of TohfatolSoltan Fi ManagebolNaman?
4. Is he originally from Tabriz?
5. Does a poet called AhliNavaei or Ahli Chagatai exist?
6. Has Ahli entered the court of SoltanYaghoub?

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 Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
 

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Semiotics is one of the theories of reading literary texts.  This theory systematically studies the causes and factors involved in the process of production and interpretation of the signs. One of the main topics in semiotics deals with implicit meaning wherein the scholars examine the implied significance of the signs in addition to their explicit significance. Sadegh Chubak’s Tangsir is one of the most successful contemporary Iranian literary novels. Most of the events in this fiction, characters, actions, scenes, and names have implicit and connotative meanings that by analyzing them, the underlying layers of the texts will be discovered. This study attempts to investigate the implicit significance of the novel. To this end, first, a brief explanation of semiotics and implicit significance is put forth. Then the implicit significance of Tangsir will be presented in three categories of: the anticolonial, sociological and mythical. The results of this study indicate that the implicit anticolonial significance of the novel raises the issue of the conspiracies of British colonialism in the southern regions of Iran. The sociological significance of the novel portrays a community drowned in misery, poverty, suppression, and oppression. And the mythical significance of the novel indicates the ritual of sacrificing a cow in Mithraism and the archetype of crossing water in myths.
 

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The Reduplications are made by repeating part of the base. The repeated part does not make sense and will never be used alone and is just popular in spoken language. In recent times, they have been used in some texts of poetry and prose, in particular, in stories written in vernacular. This research, with a historical approach, and with an analytical-explanatory method, examines the information obtained from literary and historical sources; and while analyzing the use of reduplication in Persian language and literature, it investigates three hypotheses: first, the effect of the changing of the face and meaning of the ancient Persian vocabulary on the formation of reduplication in Persian language; second, the effect of the Arabic syntax on the formation of reduplication in Persian language; and third, the effect of Arabic vocabulary and synonyms on the formation of reduplication in Persian language and literature
According to the findings of this research, the history of the use of reduplication dates back to the thirteenth century AH. Most of the compositions, from the first to the thirteenth century AH, are seen in poetic and prose works, and the writers of dictionaries have described them as examples of reduplication but in fact they are synonyms connected by conjunctives which due to a change of face and passage of time are mistakenly claimed to be reduplication. Reduplication has been introduced into Persian language since the thirteenth century AH. This was due to the prevalence of Arabic vocabulary in Persian language and also people’s habits of using synonyms in speaking. Along with developments in Persian prose and the tendency of writers to simplification and vernacularism, these compositions were introduced into Persian texts, especially satirical fictional works. 

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Fantastic literature is one of the most popular genres in the world. Due to its wide scope, literary theoreticians have put forth numerous theories to explain its various dimensions. On the other hand, many Persian literary texts make use of these features, but they have not been sufficiently investigated yet. In the field of mysticism, due to the connection with supernatural affairs, numerous works have been created by the mystics, which are related to fantastic and supernatural issues. Kashf al-Asrar is of this kind, which includes the writer's revelations and spiritual journey. In this spiritual journey, he encounters super-real creatures and visits fantastic places, and most importantly, has meetings and talks with God; a range of events that gives a fantastic, super-real and phantasmagoric structure to the book. In this article, in addition to explaining the super-real and fantastic literature, using the elements and methods used by Ruzbehan Baqli, such as symbol, metaphor, etc., the authors describe and explain the elements of the fantastic literature in Kashf al-Asrar. It is said that, in order to explain this journey and spiritual experience, Ruzbehan uses various tools in three realms of the inner, outer, and super-real worlds to illustrate his connection with the unseen world and its extraordinary creatures.
 

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Despite showing an overtly simple structure, the semantic process in classic literary-narrative discourse conforms to complicated semiotic systems. As a result, semio-semantics is deemed as one of the most scientific, reliable tools since it helps intradiscursive semio-textual propositions be phenomenologically, and even epistemologically, analyzed. Consequently, the narrative discourse in “The Prince and His Companions” is studied in order to find how much sign elements have semantic capability and how effective they have been in revealing the narrator’s thoughts and discourse.
This study is a library research, trying to address a) what situation and function linguistic backgrounds and parameters have in quality and fluidity of discursive meaning in line with narrator’s mindset; and b) how sign-individuals exist in the semantic process and epistemological discourse. In general, findings reveal that the narrator has intentionally formed this narrative discourse, compiling all semiotic systems and elements in an attempt to describe deterministic mental representation.
 

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With the development of Bakhtin's theory of polyphony in literary criticism, the kind of attitude to literary texts has changed, and according to the needs of modern society, this discourse became the focus of attention of thinkers and literary theorists. Polyphony, with its own meta-lingual potentials, brings with it a new approach, a rethinking of the audience, so that the reader can have a new range of experiences. In this research, employing Bakhtinian dialogical logic, it is possible to examine Sange Saboor as polyphonic and dialogical. Sange Saboor has a special structure that differs from other works of Chubak and utilizes components such as the plurality of voices, the use of stream of consciousness, internal  monologue, intertextuality,  two-way discourse, literary schools, etc. The author of this article attempts to find the features that turn the text polyphonic and explore their function. 
 

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Qotol-al-Qolob is an organismic and rich text that has been very effective in stabilizing the Sufist discourse. This is because of the flow of Sufism articulated in the late second century in the context of religion and passed through contradictory discourses such as jurisprudence, theology, and philosophy and then emerged in a period that radical rationalism, jurisprudential controversy, philosophical conflicts as well as political and social quarrels spead over the entire Islamic world. The ideologues of Sufism highlighted absent and separated propositions with the help of the logic of discursive difference and by studying and recognizing dominant approaches. They were gradually able to successfully integrate and dominate the Sufist discourse. This is visualized in Qotol-al-Qolob which we consider to be the confluence of two scholarly and insightful discourses. To achieve this important point we use the method and discourse analysis of La Clau and Mouffe and we show how Abutaleb Makki could renovate the absent, excluded, and depleted propositions of the jurisprudential discourse by the use of interpretation model.
 

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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.
 

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The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.