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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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Sadi is one of the few Persian poets whose fame and eternal presence in the Persian culture rests mostly on the effect of his works. This study is an effort to investigate the relationship between his didactic, rhetorical, religious and ethical poems and the principles of the Ash'ari school of rhetorical thought. To this end, we will define the discipline of rhetoric and mention its characteristic features as well as the reasons for its emergence and development, and also the probable weaknesses and failure of the Mo'tazele and Ashare. The two dominant schools of rhetoric in the Islamic civilization will be given special treatment. However, in the final section of the project, entitled "Sa'di's school of Rhetoric" the historical background and the reasons for Sa'dis tendency toward Ash'ari school will be explained.  Finally evidence for this tendency and reflections of his Ash'ari thought samples will be extracted from his poems and will be classified and explained under the common rhetorical topics such as "divine sight", "divine justice", and "determinism and free will

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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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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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The great scholar Dehkhoda is one of the most outstanding characters of culture and literature of Iran who besides his contributions to political fields played an important role in journalism, research, editing, writing, and versification. He belongs to the time of abundant ups and downs in which Iranian society had passed important events such as Constitutionalism movement, the first and second world wars, Rezakhan’s despotism and nationalization of oil industry. He is indeed a knowledgeable researcher on political issues and a writer whose political talent had influenced the events of his age or was influenced by them. Some of these events left hesitating reflections on his versifications and a closer investigation of them  may explain the importance of the events and Dehkhoda's ideas. In this article, beside brief explanation on Dehkhoda’s life, works, cultural services and poetical power, attempts were made to illustrate the reflection of these events on his versification using a descriptive–analytic method. Obviously, the criticism of functional evaluation of those people named for different excuses is not the aim of this article and claims its own proper opportunity. Result of this research offer a  new understanding about Dehkhoda in the politics field and give clues to the significant events that engaged his mind, as confirmed through the forthcoming events.

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A part of Khaghani's Divan includes his Arabic poems where one can be find a large number of errors which have not already been studied and discussed. In this paper, attempts are made to illustrate some of these errors and correct them. In so doing, the present researchers have studied these errors stemming from misreading (Tashif), distorting and miswriting, and considering Khaghani's other poems and Arab poets, the syntagmatic (metonymic) level of poems, Khaghani's poetical style, figures of speech, copies, meanings, etc,  we have suggested the correct forms. These errors are so frequent; hence, it is highly necessary to correct them. Due to Khaghani's great status, his artistic skills and his powerful rhetoric in Persian and Arabic languages, it is highly necessary to study these poems more closely and precisely again.

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Saadi is undoubtedly the master of lyric poem in Persian literature. His Melodious and impressive speech in comparison with other poets' sonnets, is related to many cultural, linguistic, expressive, pictorial factors. Although many elegant points concerning his poems have already been investigated by Henri Masse, Gh.Yousefi, A.dashti, M.Ebadiyan, S.Hamidiyan, T. Poornamdariyan, Z.Movahhed etc., there are still many details about the unique techniques in his sonnets which await further research in order to understand the secret of his beautiful speech and extraordinary impulse. In this article, we have addressed ''addressing'' as a determining factor. The determinative appearance of this factor in Saadi's sonnets has a great role in motivational aspect of his poems. Following a quick introduction of addressing, we present the factors that amplify this sense in saadi's sonnets. He has made the addressing factors in his poems by utilizing artistic techniques and making a presence feeling. It is concluded that the most important effect of "presence feeling" and the "addressing factor" is the audience's excitation. Finally, the addressed factors of saadi's speech are analyzed and presented. In this research, we have used the document analysis method and in the last section we present the distribution of data and statistics of the addressed factors.

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The study of binary oppositions in art and literature has attracted some contemporary linguists, mythologists, narratologists and semiologists. They maintain that one may get a better understanding of the literary work through these binary oppositions. In this study attempt is made to have another look at the poems of Shams al-Din Muhammad Hafiz by considering binary opposition as one of the central elements and main features of his poems. For this purpose, 100poems have been selected randomly.In these poems 637 binary oppositions are seen indicating that in each sonnet there are 4 to 6 cases of binary opposition. The binary oppositions are grouped in three parts: verbal and lexical (35%), semantic and conceptual (54%), and literary (11%). Semantic pairs are repeated more often in the poems of Hafiz, which give his Ghazalstheir distinctive feature. 

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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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Diction as a primary means of writing poetry is the poet’s medium to express his ideas. Analyzing the title of the poems as a part of diction can be a way to appreciating the aesthetic features of poetry. On the other hand, titles are usually the most important chosen words of the poet and, therefore, by studying the poet's titles one can understand the poet's thoughts. This research is a statistical analysis of the titles of The Mirror for Sounds by Mohammad Reza Shafiy Kadkany (M. Sereshk). It attempts to analyze the titles from different perspectives, namely lexically, linguistically and semantically. To this purpose, the seven chapters of this book were analyzed statistically and the relationship between the titles and the poet’s thoughts was investigated. In addition, in a diagram the significance of the role of the titles in different periods of the poet’s life was indicated. No doubt M. Sereshk had a wide repertoire of Persian words that he employed properly in his titles and, therefore, he has used his titles in their full literary and lexical capacity.

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Literary works are the carriers of many regulations, values, norms, beliefs, structures and existential, cultural, and social aspects of their time. Many of the social and cultural realities of past centuries embedded within the extant literary works of those centuries can be identified and followed through. The critical approach in discourse analysis of literary texts provides a more precise knowledge of different cultural and social manifestations, life aspects, and people’s intellectual systems of the society of the authors of these works. The issue of economy is among social and cultural structures that has been less attended to in literary researches. The study of economic discourse in literary texts can also reveal other social, cultural, and intellectual discourses governing the temporal context of creating these works. This article deals with the critical analysis of economic discourse of the poems of Khaqani Shirvani. The goal is that following this approach to study the influence of this type of economic thought and the resulting culture on the linguistic, aesthetic, and intellectual structure manifested in Khaqani’s poetry and also to find out the reason why such a specific economic culture was dominant at that time. The result of this study indicates that the discourse of social hierarchy and luxury was dominant then and along with the power discourse resulting from wealth it had been naturalized and institutionalized in the economic culture of the time.

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Although literary texts are extensively taught at schools and universities, to date the attitude of Iranian students towards literary texts has remainedunderstudied. Taking this research gap into account, the writers of the present article adopted a descriptive-analytical approach and examined a sample of students' attitudes towards Persian contemporary poems. Taking Vala (2011) theoretical model, three concepts, i.e. evaluation, comprehensibility, and impressiveness are considered. Next, two poems including"Remember the flight, the bird is mortal" by ForouqFarokhzad, and "Abyss" penned by Ahmad Shamlou are selected and used to design a researcher-made questionnaire. 120 students of Humanities read the poems and answered the questions. The findings indicated that the participants evaluate the level of the poems higher than the mean. They stated that the poems are comprehensible and fairly express their emotions. Analyzing the data with respect to the gender variable showed that the male and female participants have quite the same attitude concerning the evaluation and impressiveness of the poems, but a significant difference was noticed in comprehensibility as the female participants believed that the poems are more complex. The subjects maintained that "Abyss" was more complex than"Remember flight, the bird is mortal". The subjects selected "loneliness" and "despotism" as the key concepts of the poems of Farokhzad and Shamlou respectively. We believe that measuring the attitudes of language users towards literary works contributes to the educational syllabus design and opens a novel horizon in the interdisciplinary studies with the emphasis on Persian language and literature.

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Since human soul seeks excellence, he continuously hunts for answers to his questions. Therefore, he works towards tools to help him achieve a better life, create a dream world (Armanshahr) or utopia; a nowhere; his desired world. The Sufis has been more attentive to the local realities of their society, and they saw the society full of shortcomings and sought to lead their people into a desirable world by knowing the existing society and understanding its shortcomings and failures. The mystic understanding of Sanaei, Attar and Rumi of utopia is different from the perception of philosophers and scholars. In this way, scholars, poets and writers attribute some features to utopia, and although these features share some commonalities, they are different in some aspects as well. In this research, we have tried to study the main literary works of the 6^th and 7^th centuries through descriptive-analytical methods to, on the one hand, explore the evolution of the concept of utopia in the works of the elders of Persian mystic poetry, and on the other hand to explore the characteristics of their utopias and their differences according to the socio-political characteristics of that period.

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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.
 
 

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The prison poems of Ahmad Shamlou are significantly different from the classical form of prison literature in terms of structure, function, content, and discourse. In the present research, we have tried to study Ahmad Shamlou’s prison poems with an integrated approach using discoursal and semiotic tools. In order to interpret the function of prison as a punitive tool, we have taken Foucault’s views and to explain the relationship between power and disciplinary space and prison punishment, the issue of authority and domination has been briefly discussed based on the ideas of some sociologists and philosophers such as Max Weber and Thomas Hobbes. Lefebvre’s views on space have been used in the interpretation of prison environment. The results indicate that unlike the classical prison poets, Shamlou first discredits the punitive and disciplinary function of the prison by not admitting the charge and considering the punishment illegitimate. Second, the prison environment in Shamlou’s prison poems is a discoursal space in which the poet has tried to use the dialectical capacity of the space by successively escaping to the outside world, emptying the prison of its physical and defined identity as an enclosed space, and portraying it as a required developmental experience in the path to achieve the goal.


 

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Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world.  However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.