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It generally seems impossible to neglect the role of myths and mythical concepts due to the fact that poets are unconsciously inspred by their ethical and contents. However, in contemporary poetry, especially in those of the poets with special philosophical, social, intellectual and cultural attitudes, the poets have widely tried to adapt mythical elements to modern situations and to create new myths from contemporary concepts or realities. Akhavan sales  is one of the poets who has used a wide range of elements of ancient Iranian myths in his poems and under contemporary historical-social situation, has created myths based on the social concepts and realities.                

This paper attempts to investigate the underlying reasons as well as the quality of the creation of myth of defeat in Gheseh Shahre Sangesstan and the quality of the reproduction of some old elements utilized by the poet to depict 'defeat'. 

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In this article, the aim of the authors is to study the role of repetition in creating music and parallelism in Nimayee poems in the three collections of poems by Mehdi Akhavan Sales: Zamestan, Akhere Shahname and Az Avesta. Accordingly, the researchers have investigated the various manners of repetition in creating parallelism in the poems at three levels: phonological parallelism, lexical parallelism and syntactic parallelism. The present article tries to show that the musical parallelism in Akhavan’s Nimayee poems rises from the phonological, lexical and syntactic repetition. The authors found that their phonological parallelism was based on consonant and vowel repetition in sentences and also linguistic expressions, variety of rhythms and the poet’s innovation in using some Nimayee rhythms. Moreover, the repetition of words in different manners and the use of rhyme and range have created the lexical parallelism in Akhavan’s poems. Finally, employing some figures of speech syntagmatically and paradigmatically have created the syntactic parallelism in this poems.

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The poetry of Mahdi Akhavan Sales in contemporary Persian poetry and Al-Bayati in contemporary Arabic poetry comprises many Romantic elements. This article is mainly a comparative analysis ofthe titles of the two collections: Akhavan's Zemestan and Albayati's Al-Majd lil-Atfal wal-Zeitoon.The researchers attempt through a content analytic method to show and compare the presence of Romantic elements in these poetical titles. The results show that some Romantic elements such as return to childhood, escape and travelling, sadness and loneliness and Romantic archaism are obviously reflected in the titles of the two collections of Akhavan and Al-Bayati. The title has an important role in forming the general identity of the text, and this fact indicates the special position of Romanticism in the two poets’ perspective. Some Romantic elements, such as nationality, are reflected in Al-Bayati's poetic title, but this feature is not seen in Akhavan's poetic title, though the case is different in the text of his poems

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Communication includes all the ways that human beings can influence others. This involves not only speaking or writing, but also all human behavior in various ways, so there are two types of communicational signs that human beings use: verbal and non-verbal signs. In communication science, special attention has been paid to how non-verbal signs influence message transmission. The research has shown that a large proportion of messages are transmitted to others through non-verbal signs. In poetry, the poet uses both verbal and nonverbal signs to be more effective in relation to the audience, but often in the analysis of poetry, the focus is on the verbal signs. Mehdi Akhavan-Sales is one of the most remarkable poets of contemporary narrative poetry whose specific characteristic of his poetry makes it suitable to use the non-verbal signs. In this study, the use of non-verbal communicational signs has been discussed to answer the following questions: Which non-verbal signs did Mehdi Akhavan-Sales use in his poetic images? What induces non-verbal signs in his poetry? Is there a significant relationship between the signs of non-verbal communication and the dominant thought of Akhavan in his poems? This study shows that Akhavan transmitted some of the concepts and messages in his poetry by depicting non-verbal signs related to the eyes, hands, feet, head and neck, lips, mouths, etc. The frequency of using these signs is higher in poems that have narrative features. The messages conveyed by these signs are often sadness, fear, concern, anxiety, uncertainty, and despondency. The high frequency of false smiles and the frequent use of phonetic messages of silence indicate that duplicity, and improbity made his poetic atmosphere full of despair. The use of these signs shows that instead of explaining a feeling or trying to convey a message, he presents an effective poem to the audience in a succinct manner.
 

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