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Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima ,as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition  of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.

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Unlike ancient rhetoricians who rejected ambiguity altogether, modern theorists consider it as a value. This article, initially, presents a historical survey as well as the modern approaches to ambiguity and highlights the modern aesthetic tendency toward ambiguity and polysemy. After the early years of 20^th century, ambiguity was considered as the essential essence of literary texts by literary critics and theorists. Second, the article discusses the value of ambiguity in literary works and draws a borderline between difficulty and polysemy (i.e. pluralization and multiple meaning). Then, it introduces some kinds of ambiguity and elaborates on their distinct features. Meanwhile, this article pinpoints the basic deference between language and literature through emphasizing the value and function of ambiguity.  The main purpose of the article, then, is to emphasis that "ambiguity as inherent nature of literature" and stresses the principle saying: "the artistic value of a literary work and the secret of its eternality depend on the amount of its ambiguity". If one ignores the ambiguity in literary texts, he would lose its spirit and essential essence. Ambiguity causes an interaction between   reader and text and fosters the ability of meaning creation by readers.  Through persuading the readers to react to the content of text, ambiguity provides the opportunities for generations to engage in different dialogues with text across time and history.

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Norm-breaking in the field of literature, like other areas of human knowledge, is the province of the talented. Norm-breakings Hafiz undertook in his ghazals came to be the source of a movement with a good many imitators. His norm-breakings took place in form, meaning and/or in the possible relationships between the two. Critiquing the social mores was one of his trademark iconoclastic practices in the realm of content. Another norm-breaking was inventing rhetorical subtleties whose novelty was particularly conspicuous in the realm of pun. It was an innovation in creating varied links of signs on the horizontal axis of poetry—an innovation resulted from Hafez’s contemplations on the emotional meanings of words conjured up in various cultural aspects. The harmony of meaning background and emotional background with the general music dominating them—a linkage created by meter, rhyme and juxtaposition of words—is another feature in Hafez’s poetry. The impressing value and emotional intimacy of these elements are palpable in his poetry. The most remarkable norm-breaking in Hafez’s ghazals may be the way in which the scattered meanings clandestinely interact through a ghazal; this has caused most scholars to regard it as polysemous and lacking in terms of logical relationship among couplets. These couplets, albeit distantly related with each other, are connected deep inside. Besides demonstrating Hafez’s rhetorical, artistic as well as semantic norms-breakings, the present paper shows that in spite of his poetry seeming scattered, which is a result of distant and far-reached associations in Hafez’s culturally and experientially loaded mind, there is an inner relationship among them that can be understood by transforming the norm-breaking propositions to norm-enforcing ones. A ghazal by Saadi is juxtaposed to one by Hafez to illustrate the issue at hand.

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Persian is a language that accepts combination.This tendency has made some of the poets and authors try to create new combinations. Nizami of Ganje is one of the poets in whose works hundreds of these new combinations are seen. On the one hand because of his high intelligence and talent and on the other hand because the people of his time looked for new subjects and new expressions, and also due to the natural evolvement of language, he has paid special attention to this issue. Although Nizami does not limit himself to certain combinations, on the whole the frequency of allusive combinations is high in his works. One of these combinations is that of"kabkshekastan", which the narrator of Ganje has used in Khosro and Shirin and Sharafname three times. The meanings written for this allusive combination in dictionaries are as follows: "to flirt", "to efface the track" and "to hide secrets". Although on the construction of this combination no explanation has been given, we may offer a few conjectures. What we attempt to explain in this research concerns this combination and its meaning in dictionaries. The research is an endeavor to find out how much these meanings are reliable and if there is another possible meaning for this term.

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Rhetoricians have introduced five criteria for the identification of allusion. The aim of this study is to verify the fourth and fifth criteria and to examine their efficiency since they have caused obscurity and confusion in recognition and identification of allusions and created inconsistency between the definitions and the nature of allusions. Regarding the correctness and effectiveness of the fifth criterion, it can be said that allusion is not realized in the form of words or compound words since it involves a compound image that is essentially embodied in an allusive proposition. This proposition enjoys a prime meaning with an actual or imaginary instance and hence it paves the way for the connotative meaning. Allusions, therefore, should be called allusive propositions. Regarding the efficiency and correctness of the fifth criterion, it can be argued that due to the imaginary and pictorial nature of allusion, its surface or prime meaning cannot always be realized in external world. Therefore, the prime meaning of allusion has sometimes an external instance and sometimes an imaginary one. Hence, according to the nature of prime meaning it could be said that there are three kinds of allusive propositions: pictorial allusive propositions whose prime and connotative meanings are realizable in the external world; imaginary allusive propositions whose prime and connotative meanings are imaginable or recognizable in imaginary world; and poetic allusive propositions which contain  metonymy, simile and metaphor and their prime meaning is realizable after uncovering the metonymies and metaphors. The prime and connotative meanings of this kind are realizable in the external world or imaginary world.

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Fantastic Realism is a genre which remind us of Russia and its great writer Dostoevsky. This genre has been developed in Iran among Iranian writers who have been familiar with the books of world literature, especially Russian literature. Fantastic Realism employs and combines reality and imagination, and while it concerns the reality related to human beings, it pictures that kind of reality which is internal. That is why the reader has some difficulty in finding the true meaning in such novels. Among the Iranian writers, Khosro Hamzavi is more inclined to this genre and the novel The City which Died under the Cedar Trees is one of the best novels of this writer which is written on the basis and reflects Fantastic Realism. The City which Died under the Cedar Trees is discussed in this paper based on Fantastic Realism using a descriptive-analytic method.

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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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 Niẓāmī Gandjawī’s “Ḵosrow o Širin” the poem is one of the most prominent works of genius and fiction in Persian literature. Although the articles on the structure of the narrations of this poem have already been written, But in using rhetorical instruments to persuade the audience and, as a result, to suspend, No particular research has been done on this fiction. In this article, First, we have defined the persuasion in various sciences and its role in the history of philosophy and rhetoric And then a brief glance at the definition has been suspended to clarify how rhetorical practices can serve to suspend the story. Suspicions in the story of Khosrow and Shirin are largely the result of the poet's use of the rhetorical techniques used to persuade the audience. This suspension, which in fact causes the coward and the distance between lover and beloved at different intervals of the story And on the other hand, it creates expectations in the reader, there are many stories in different sections. In this article, two sciences of meaning and expression have been used to examine the role of persuasion in creating suspense. It was enough from the meanings of science of meanings only to the secondary meaning of the word, namely encouragement, perseverance, warning, blame and blame, and reverence and bow and from expressions to similarities, metaphors, and parables, because their role and effect seem to be more tangible to achieve the desired result.