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Maolavi known as Rumi, in a lyrical poem discussed in this essay, expresses some of his mystical points of view, not explicitly, but through the poem’s structure. This poem has an organic form and in its structure there is a sign that indicates "wind" in its own absence has become a symbol. This poem because of its special structure can show a part of stylistic distinctness of Rumi in poetry.

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According to the contemplations advanced by Russian formalists as well as scholars such as Lui Shtrus with regards to the concept of construct and its attributes, any change in the construct will influence all constituents of the construct.  These transformations are concerned with the structures of construct in each cycle. As the structures of construct are perfect, the other structures cannot be in a state of complete decline. Looking at the cultural history of Iran from the same perspective, one can see that the structures of construct were perfect in the 4th century. Thus, all smaller structures such as poetry, prose, music, mysticism, medicine and architecture enjoyed a prominent position. The wisdom liberty in poets and mu'tazilites's discussions is the main reason behind the prominence and grandeur of Iranian culture and its macro scale structure in Ferdowsi and Biruni age. The dominance of Ashaari doctrines over the Iranian culture led to the decline of wisdom with the structures of constructs secured by certainty giving way to skepticism arguments and logical propositions replaced by speculative propositions

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Structuralism  mostly  investigates narrative  elements in  stories. A structural  narratologist  basically intends to  compile  a  coherent  structure  among  other  different  aspects of a story. The  present  study   investigates  the  structure  of  AmirArsalan  story, the last  important  fragment  of  Persian  folksy  long  story  generation, according  to  some  structuralist  theories. According to  Grard Genette,  we  can  analyze  AmirArsalan  story  at  two  levels  of  recite  and  narration. At  “recite” level,  it  has  been  discussed  based  on  narrative  perspective. At  “narration”  level,  the  narrative  structure  has  been  investigated and  then  the  similarities  and  differences  have  been  mentioned  compared to  other  folksy  long  stories.  In  the  second  part  of  narration  level,  its syntactic  structure  has  been  pointed  out  and  we have tried to  summarize  the story  characters,  their  acts,  and  manners  in  the  most  compact  way.

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Poetry is an event that happens in language. In fact, the poet in his poetry works with language and the reader understands the difference between his poetic language and the common language. The Purpose of the poem is to create harmony among its different elements and one way to establish this harmony is through the phonetic structure of poetry. The Formalists and structuralists believe that the basis of poetry is its structure and in their structural studies they give more importance to the phonetic structure.In this article attempt is made to investigate the phonetic structure and the classification of all methods of forming this structure in the poetry of QaysarAminpour as well as the literary devices that shape the phonetic structure. Aminpour is one of the contemporary poets that adopts a classical form and is one of the followers of Nima. He uses the multiple language possibilities to add to the music of his poetry. The phonetic construction in Aminpour’s poetry has three levels: phonetic balance, lexical balance and syntactic balance. He looks at the special features of different components forming the word—phoneme to sentence—and creates artistic beauty in his poetry. He applies various techniques, such as repetition, rhyme, and pun to add to the beauty of the phonetic structure of the poems

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The novel Malekan-e- Azab is the latest published work by Abu Torab-e Khosravi. The significance which is always assumed by Khosravi for words and writing is conspicuously seen in this novel as well; however, the author’s attempt to develop novel atmosphere and techniques has added a new dimension of complexity. To fully appreciate this complication and to gain an understanding of the discourse, we will investigate the deep structure of the novel and its affinity with the author’s technique, drawing on non-narrative elements, the implication of the signs and the binary contrast involved in the process of signification. The theme of the novel is a battle against Time. The technique of narration is multi-dimensional which is compatible with its deep structure. Given the significance of the association between words and creativity, the author has endeavored to develop a close connection between words and creativity and writing. In doing so, the author provides a circular portrayal of the characters. The realization of the characters by words and literary elements has induced a vivid image of the narrator by exploiting new indexicals which are constituted by the characters. The author’s novel technique to battle against Time is metamorphosis; the characters are realized as narrative indexicals and lead their lively life throughout the narrative. The symbolic elements of the narrative are closely interweaved with the circular structure of the characters and are so formulated to develop the deep structure of the narrative within a transformational framework.

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Through a rhetorical system, poets’ and writers’ worldview is reflected in their literary works. One effective factor in forming or changing these viewpoints is the happenings and changes of the world poets dwell on different levels. Simile is an important structure in the rhetorical system. In this piece of research the writers have tried to show how structure of simile in Bidel reveals transformations in the texture of situation on different levels through establishing relations with other rhetorical structures. Moreover, the research also investigates how vivid or subdued transformations in the current period affect the horizon of expectation of previous ages resulting in the formation of new horizons. In this article, the poems of Bidel are regarded as a field the intrinsic transformations in which can be attributed to other fields such as Hindi style of poetry. Through this study, it became obvious that not only the poet (Bidel) sometimes creates new structures out of old similes, but also he establishes new structures by creating chains of similes networks, resulting in the abundance of syntactic images, or  several images using multidimensional words, etc. In the following article, situational texture of Safavid era, linguistic texture of Hindi style, its common simile structures, and at last, new simile structures and their features in Bidel’s poems are studied.
 

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Simin Behbahani is one of the contemporary ingenious and efficacious poets. In her New-Sonnets (Nou-Ghazal), the frequency and variety of allusions are too many, so that the allusion is one of the most striking features of her poetic style. Accurate understanding of semantic capacities and structural concinnities of the word, which has allusive theme, depends on being familiar with meaning and concept of allusions on one side, and knowing the structure of allusions and methods of applying them on the other. Because of the importance and necessity of studying the methods and techniques making depth, affection, and intellectual, cultural and semantic development of allusions in order to better identify and understand the capabilities, elegances and semantic and structural measures of New-Sonnets of Simin Behbahani and the role of these factors in the creation of literary enjoyment, the main goal of this paper is to analyze the structure of allusion and also sorts of using it on the vertical axis of imaginations in New-Sonnets of Simin Behbahani. The results show that allusions used in poems of Simin Behbahani, have varieties in construction from single and complex words to the spread and vast allusions on the entirety of the vertical axis of Sonnets. Overall, in new-Sonnets of Simin Behbahani, the allusions are represented on the vertical axis in different kinds and methods such as parallel allusions, integrative allusions, comparison allusions, Molammah, structural allusions, debate allusions or allusive debate, incarnative allusions, etc. some of these methods especially in the vertical axis, are rare or unprecedented.