Contemporary Persian Literature

Abstract One of the most important theories in linguistic studies is Halliday's theory of "role-oriented textual coherence." Cohesion is a set of relationships between the components of a text that, through lexical and grammatical elements, connects a part of a sentence to previous words, groups, or sentences. Since the factor of "cohesion" creates a connection and internal connection between words and, consequently, creates music in the text, This research, using a descriptive-analytical method, has examined the theory of coherence in two axes: grammatical and lexical. Then, by enumerating the techniques for creating coherence in Sepid Shamloo's poems, it has analyzed and examined the extent of the effect of these techniques in increasing the inner music of his poetry, based on Halliday's theory. This article also attempts to answer the question: "What effect does the element of coherence have in creating the inner music of Shamlou's poetry?" The findings of this research show that coherence is one of the ways to create the inner music of blank poetry, and Shamlou, through his mastery of the Persian language, familiarity with the morphological and syntactic capacities of this language, and benefiting from the elements of lexical coherence, especially the elements of repetition, deletion, and conjunction, has been able to create a desirable connection between words and concepts in his poetry And use methods of creating coherence as part of the ways to create music in blank poetry.

Abstract Roland Barthes, a French literary theorist and philosopher, argued in his famous essay “The Death of the Author” (1967) that a literary text, when detached from the life and personality of its author, is liberated from interpretive authority and gains the potential to carry multiple layers of meaning. This perspective emphasizes signs and intratextual relationships, positioning the reader as the primary agent in the process of textual interpretation. Within this framework, Barthes introduces the concept of the “Scriptor” instead of the “author”; a scriptor who merely arranges the text without the right to impose or explain personal intentions. The present study aims to analyze the works of Mohammad Reza Kateb from the perspective of the Death of the Author theory and to examine the extent to which postmodernist techniques influence his texts. The central hypothesis posits that the features of Kateb’s works—including the active role of the reader, character autonomy, multidimensional identity, narrative flow, temporal disruption, death-reflection, and uncertainty in causality—represent a prominent instance of the practical application of this theory in Iranian fiction. This research employs an analytical-descriptive methodology, conducted through a comprehensive study of Kateb’s works and the extraction of examples relevant to the Death of the Author theory. The findings indicate that Kateb, with prior awareness of postmodernist principles and the Death of the Author, actively engages the reader in the interpretive process and expands the semantic boundaries of the narrative. The study concludes that Mohammad Reza Kateb is one of the most salient examples of the reflection of the Death of the Author theory in contemporary Iranian fiction.

Abstract Oblomovism was first discussed in nineteenth-century critiques of Ivan Goncharov’s novel Oblomov, describing chronic inactivity, fear of change, and social inertia as indicators of the Russian aristocracy’s crisis and the decline of traditional values. Over time, the concept expanded beyond literary criticism into psychology, sociology, and cultural studies, becoming a framework to examine patterns of passivity and avoidance of agency at both individual and collective levels. This perspective provides a lens for rereading Hooshang Golshiri’s Shazdeh Ehtesab (1969) in light of the lived experience of a declining aristocracy in Iran. The historical parallels between nineteenth-century Russia and Iran in the 1960s–1970s—a period of cultural transition and legitimacy crisis of the aristocracy and intellectuals—suggest that Oblomovism offers an effective analytical framework for the novel. The main research question examines the extent to which the characteristics of Oblomovism—such as temporal stagnation, dependency on the status quo, retreat into sleep and fantasy, and systematic avoidance of action—can be identified in the protagonist Khosrow and the narrative layers, reflecting the logic of a declining aristocratic life. The study employs a qualitative-comparative approach based on close textual reading. Findings indicate that Khosrow’s structural passivity, voluntary paralysis, nostalgic attachment to the past, and disconnection from reality and agency significantly overlap with Oblomovist patterns. However, in the Iranian context, this model is intertwined with historical guilt, the genealogy of violence, and critique of patriarchal power. Thus, Oblomovism is presented not as an imported framework but as an analytical tool that offers fresh insight into narrative structures and character development in Shazdeh Ehtesab.

Abstract One of the topics discussed in social semiotics is lifestyle. Eric Landowski's, a French semiotician, proposes four types of lifestyles: snob, chameleon, dandy, and bear, according to the type of interaction of non- or defeated group people with the dominant or central reference group. He also adds three more styles: the bee, cat, and dog lifestyles. Each of these characters exhibits a specific behavior in relation to the normative reference group, and the dominant reference group deals with them with different strategies of identity acceptance, identity separation, identity rejection, and identity simulation. Ehsan Abdipour, a contemporary writer and director, creates new patterns by challenging Landowski's lifestyle models. The main character of the stories The Resāley-e Mūmūsyāh and Gūrāz displays a range of different life styles and combinations of styles in his interactions with others. The main question of the research is what effect the type of strategy of the reference society in relation to the presence of the other has on the way subjects encounter the other and their choice of intermediate lifestyle. In the aforementioned stories, the protagonist moves from a bear adapted to the universe to a genius human being in order to fulfill his mission in this world. In this movement, other lifestyles and also combined styles are manifested, according to the type of approach of the reference society. This research, using an analytical-descriptive method and based on library research, aims to show the different styles of Landowski's theory in interaction with the universe and the reference society. In fact, the aim of the research is to show the journey of the characters in these two stories in different lifestyles.

Abstract The poem "Ismail" by Reza Baraheni is one of her social poems, written for her friend, Ismail Shahroudi, who can be said to represent all oppressed Iranian youth. The aforementioned poem is an intertextual poem that shows signs of benefiting from different texts. In this article, based on intertextual mechanisms, the authors attempt to examine the types of intertextual relationships in the poem under discussion using an analytical-descriptive method from the perspective of Gerard Genette's intertextuality, and analyze how they are present and how each of them is selected for evidence, considering their characteristics. Based on the results obtained, it was determined that in general, the poet has used three factors: quotation, reference, and allusion to advance the poem in question, but reference is the dominant form of intertextuality in this text. Quranic elements are used to introduce characters who represent Islamic discourse in the aforementioned poem, and it is clear that this requires the use of Quranic themes in describing these characters. In order to advance the conceptual and structural goals of her narrative, Barahani has artistically used Quranic elements such as events, people, words, and themes in a new reading of the Quranic poem "Ismail" in such a way that understanding the intertextuality of the aforementioned poem and the Quran can create a basis for a deeper understanding and perception of this poem and the poet's semantic orientations.

Abstract In the nineteenth century, Nietzsche, through his critique of religion, morality, and modernity, launched a project to redefine the human position within a nihilistic world-a project crystallized in the concepts of the Übermensch and the will to power. This study offers a philosophical–critical and interdisciplinary reading of Houshang Golshiri’s novel Prince Ehtejab to explore the possibility of the Nietzschean Overman’s emergence within the context of Iranian modernity during the Pahlavi II era.
The analysis of the interrelation among form, ideology, and subjectivity reveals that Golshiri, by introducing a fourth element- “formal leftism” -transforms the novel’s fragmented and self-referential structure into a field of resistance where the subject confronts the collapse of meaning. This formal leftism transcends political inclination and manifests instead as a philosophical and justice-oriented disposition materialized in linguistic and mnemonic structures, distinct from traditional leftist thought.
In confronting both passive nihilism (the absence of the Overman) and active nihilism (the potential for the Overman’s presence), Golshiri constructs an intermediate state that enables the becoming of a localized Overman. Within this horizon, Prince Ehtejab’s transformation into a fiery, transient Overman reconfigures Nietzsche’s will to power into a will to erasure - revealing, through Golshiri’s critical re-reading of Nietzsche, the possibility of overcoming indigenous forms of nihilism in modern Iranian literature.

Abstract This study analyzes three emerging subgenres of Language Poetry—Vibration Poetry, Black Text, and Supra-white—based on Robinson’s tripartite model. Adopting a descriptive–analytical–statistical approach, the data were collected from library sources, manifestos, and an analysis of 300 poems by 22 poets. The findings indicate that although all three subgenres exhibit linguistic and aesthetic innovations, they differ significantly in the distribution of paradigmatic, exogenic, and ecological components. Vibration Poetry demonstrates a relative balance between language-centered structures and references to the lived world, whereas Black Text is characterized by the dominance of paradigmatic features and self-referential language. Supra-white occupies an intermediate position, displaying limited yet discernible connections to imagery and natural elements. Overall, the results suggest that the distinctions among these subgenres arise less from their reliance on contemporary literary theories and more from their divergent strategies in negotiating language, meaning, and the relationship between text and the lived environment.

Abstract “Yaddasht-ha-ye yek dictator” (A Dictator's Notes) is a book by Hakim Elahi, which was first published as a political serial in the Iranian newspapers in the 30s. The serial's objective was to fight against the intellectual foundations of the Tudeh party. The author claims that his book describes the rationale behind the socialist parties' endeavors and explains the reasons for the rise of dictators. In this sense, his writing is framed to be different from other Iranian serials published in the 30s, which were mostly historical, social and adventurous stories. This paper aims to describe and analyze the methods of representing the concept of socialism, socialist parties and their rise to power in the work of Hakim Elahi and compare them with key principles of realism and socialist realism. The results show that Hakim Elahi's writing, contrary to previous assumptions, is an unrealistic text, and thus, cannot be considered an effective socio-political writing and a clever parody. Our analysis suggests that Hakim's writing is an anti-realist narrative that presents an imaginary, superficial and mundane image of its alleged subject by reversing the principles of socialist realism.

Abstract This study examines the application of ‘time’ in Abūtārb Khosravī's trilogy—comprising Asfār-e Kātebān, Rud-e Rāvī and Malakān-e ‘Azāb from the perspective of the philosophies of Henri Bergson and Gilles Deleuze. Bergson and Deleuze conceive of time not as a quantitative and linear concept, but as a qualitative and fluid phenomenon in which the past and present intermingle without distinct boundaries. This perspective significantly aligns with the narrative structure of Khosravī's trilogy, where time is represented in a non-linear and multi-layered manner. The research method employed in this study is library-based, grounded in description and analysis. The main finding of this research indicates that the non-linear narrative structure, techniques such as temporal regressions, the interplay of memory and reality, and the repetition of events in Khosravī's trilogy are not only consistent with the temporal theories of Bergson and Deleuze but also constitute an objective literary and narrative representation of those very philosophical concepts. This theoretical and practical congruence has resulted in the creation of a narrative in which time acts as an active and constructive force in shaping the fluid identity of characters, the fragmented structure of reality, and a dynamic understanding of memory. Consequently, this research demonstrates that Khosravī's trilogy can be regarded as the objective embodiment of Bergsonian "duration" and Deleuzian "Aionic time" within the form of the Persian novel.

Abstract Critical study of world literary works with a comparative and intertextual metalinguistic approach opens new windows to the wonders and secrets of these texts for the audience. This type of study and research leads to greater discovery and understanding of the various angles, dependencies, and trade-offs of literary works and texts.
Critical reading of world literary works with a comparative and intertextual metalinguistic approach opens new dours to the wonders and secrets of these texts for the audience. Hossein Pejman Bakhtiari is one of the most prominent contemporary poetres who, while distinguishing and differing in style and tone in many of his poems, that not only has a long-standing familiarity and affection with Iran's literary past and the famous poetres and writers of the Persian language, but also he has comprehensive understanding of world literature especially French literature. This familiarity with world literature, which is the result of his familiarity with the French language, his travels, his translation of many works and texts from the Western world, and the like, has led to the creation of different works in which we can clearly see the reception and influence of some speakers of Western literature, and of course, the exceptional re-creation and creativity in the creation of some of his works. The purpose of this research, which is conducted through a collection, descriptive, documentary, and ultimately critical analysis method, is to study, examine, analyze, and compare one of Pejman Bakhtiari's poems titled the Chimneys with two pieces of William Blake's poetry, namely chimney sweeps. In the end, it is concluded that Pejman's piece is influenced by two pieces by William Blake, which are of the type of possession, creativity, and Recreating a text, and it indicates that both poets, familiar with pain, with a gentle nature and delicate emotions, and with a deep understanding of the conditions and requirements of the society of their time and the support of religious beliefs, have suffered like the eloquent tongue of the people and are fierce critics of the wealthy and affluent who, for their own comfort, assign the pour, the downtrodden, and even children to hard and exhausting work, and on the other hand, challenge any kind of deceit and hypocrisy of the religious masters.

Abstract Love has long held a unique and indispensable place in the cultural and intellectual life of Iranians, standing as one of the most fundamental and multifaceted concepts in Persian literary history. Yet the representation of love in Persian literary tradition has never been static or timeless. On the contrary, it has continually been shaped and reshaped by the historical, social, and philosophical undercurrents of each era, giving rise to new literary configurations over time. What makes these transformations particularly significant is their gradual, process-driven nature. Adopting an analytical approach informed by the theories of Bakhtin and Saussure—and emphasizing the procedural nature of literary evolution—this study investigates the initial signs of transformation in Persian love poetry during the modern era, beginning with the Qajar period. By examining the early encounters with Western thought, it reveals how these intellectual interactions shaped contemporary love poetry and gradually culminated in the works of Ahmad Shamlu. The findings of this study indicate that Shamlu was not the initiator of this transformation but rather its continuation and culmination. Drawing on the intellectual and literary heritage of his predecessors, Shamlu crafted a form of love poetry that meaningfully departed—both in content and expression—from classical traditions as well as the works of his contemporaries. In doing so, he established a defining and influential model for contemporary Persian love poetry.

Abstract This study examines how time, space, and the human interact in representing the lived experiences of the protagonist in Rahesh, a novel by Reza Mirzakhani, based on the combined model of the threshold chronotope and the transhuman–space chain. The significance of this research lies in introducing an innovative approach that integrates these two models to analyze temporal–spatial–human connections in contemporary literary texts—an approach applicable not only in narratological studies but also in interdisciplinary analyses of identity, bio-environment, and urban transformation. Adopting a socio-semiotic perspective and employing a descriptive–analytical method, the study purposefully analyzes selected passages from the novel. The findings reveal that the combined model, by emphasizing threshold situations and transmaterial connections, not only enriches the narrative’s semantic and conceptual layers but also illuminates the transformation of characters’ identities within the dynamic interplay of time and space. The results further indicate that crossing from threshold to post-threshold moments deepens lived experiences and generates new meanings within the narrative.

Abstract Abstract
The sociology of women has increasingly sought to explore women's ideals and aspirations within patriarchal societies. One of the central concerns in this field is the redefinition of the female utopia within cultural and social structures. Drawing on Anthony Giddens’s theory of structuration and Paulo Freire’s concept of critical consciousness, this study provides a sociological and comparative analysis of women’s utopian visions in two novels: My Share by Parinoush Saniee and The Lonely Girl by Edna O’Brien. The research employs a descriptive–analytical method based on library sources. The findings reveal that both authors portray women’s gradual transformation from passivity to awareness; however, the path toward liberation differs in each context. Masoumeh, in traditional Iranian society, seeks her utopia through access to basic civil rights, while Kate (Kathleen), in Catholic Ireland, strives for personal independence and self-realization. Consequently, the female utopia emerges not as a pre-defined social model but as a dynamic process of self-awareness and reconstitution within patriarchal systems.

Abstract Mahnoud Dowlatabadi’s novel Missing Soluch, which narrates the life of a rural family, provides a rich ground for the psychological analysis of its characters. This research, using a descriptive-analytical method and drawing on Alfred Adler’s Individual Psychology theory, examines the motivations and behaviors of the story’s main characters. According to this theory, humans are influenced by feelings of inferiority and the striving for superiority, shaping a unique lifestyle. Concepts such as the inferiority complex, striving for superiority, social interest, and birth order serve as the analytical framework of this study.

The findings indicate that Mergan, Abbas, and Abrau are prominent examples of Adler’s theory in practice. Mergan, with her sense of responsibility and self-sacrifice, strives to keep the family together under harsh conditions, reflecting high social interest and a cooperative lifestyle. In contrast, Abbas, as the firstborn, driven by feelings of deprivation and inferiority, leans toward dominance and superiority-seeking. Abrau, the second-born, takes a different path, marked by competitiveness and efforts to compensate for his shortcomings.

This study highlights the decisive role of birth order, childhood experiences, and family relationships in personality formation and demonstrates how these factors influence decision-making and individual destinies.

Abstract When facing the world around him in his daily life, man first encounters the objects around him with a natural approach; But Husserl, in order to reach a philosophical point of view, tried to turn the attention from the Phenomenon to the Phenomena, and therefore, he invited to turn from the natural approach to the phenomenological approach. His strategy for this change of perspective is that the subject of knowledge, by suspending his presuppositions, focuses only on the matters of the object that appear to him and describes the phenomena from a subjective point of view. The poet is actually a perceiver who, by suspending the usual and everyday view of the objects of her lived world, describes them from a subjective point of view, and the poem is actually the same description of the poet's lived world from her perspective. In this research, the sonnet "Familiar Dream" by Qeisar Aminpour was reread in an analytical-descriptive way and based on the components of Husserl's phenomenology. And we came to the conclusion that in this sonnet, Qeisar by using the most important components of Husserl's phenomenology, such as "Intentionality", "Epoche", "Ego" or "phenomenological self", "Noesis" and "Noema", described "You" phenomenologically.

Abstract Alamtaj Qaim Maqami was a poet from the Qaim Maqam Farahani family during the constitutional period, and his primary education was organized in his father's house. At the age of sixteen, she got married to a forty-year-old man from Bakhtiari's fighting men. As much as this man had his heart in fighting, warfare, hunting, epics and mountains, Alamtaj had his heart in art, literature and romanticism that was boiling from his inherent gem. This personality difference led to a family quarrel and finally to separation. This husband and wife, both in the history and literature of the constitutional period, have had significant importance, which in the opinion of the author of this article, that importance has not been highlighted as it should and exposed to the gaze of historians and literary critics; Especially the literature of women's awakening has not happened. The author of this article, with the method of historical analysis and analysis of the content of Alamtaj's poem attributed to Jaleh, found the role of both personalities in the constitutional period, both from the historical and literary point of view, very significant and to prove his claim, by rereading Jaleh's poems, has turned.

Abstract The present study, with a sociological critical approach, analyzes Mehdi Akhavan-Sales's poem "Winter" as a literary document of the socio-political crises in Iran in the 1951 and 1961. The main issue of the article is the dominance of formal and structural readings in previous studies and the lack of attention to the causal links between the text and its historical-social context. Therefore, the following essay attempts to show, through a layered analysis, how "Winter" depicts the fragility of human relations, the collapse of collective trust, and the mechanisms of isolation in an atmosphere of tyranny, and at the same time has the capacity to become a call for hidden solidarity. The theoretical framework of the research is based on Hippolyte Tain's triad: race, milieu, and historical moment, which is integrated with contemporary sociological theories to enrich the explanation, including: Durkheim's anomie and crisis of social cohesion in explaining abnormality and broken bonds; Foucault's panopticon surveillance and internalization of power in analyzing self-censorship and pervasive fear; Bourdieu's social capital in explaining the decline of support networks and trust; Merton's adaptation, especially withdrawal, in explaining social withdrawal; Scott's everyday resistance in understanding small actions as a problem of cultural resistance, and Ulrich Beck's idea of social risk in interpreting the limited horizon of the future. The research method is qualitative and analytical-interpretive, and the data were collected from the text of the poem and historical and research sources. The results show that, with the help of the metaphor of "winter" and using symbolic images and a specific poetic language, the Akhavan-Sales creatively depicted the challenges and the deplorable social and cultural situation of Iranian society in the 1951 and 1961, and at the same time, while expressing the post-coup suffocation, it considered the possibility of rebuilding social bonds through everyday resistance.

Abstract After a century of changes and developments in contemporary Iranian song, today it is possible to study its evolution in its last movement, the song of the nineties, with an analytical approach. the poetry collection "Khane Taraneh" includes works by more than fifty songwriters of this decade, which has made such research possible, using the approach of discourse analysis theory, examines the social, political, cultural, artistic and philosophical role and function of the song genre and discovers its existential truth in the postmodern era; because the theory of discourse analysis can be one of the signs of the postmodern era and the period of moving beyond the one-dimensional reality of objects in today's social life. this essay examines the songs of this decade as one of the general manifestations of cultural and social action and has reached the following findings on topics such as: history of songs, love, language and prohibition. according to the results of this research, the songs of the nineties, in a modernist and postmodernist mechanism, under the influence of two factors: ideology and power in society, follow an intellectual and philosophical hegemony that has led to the creation of a new discourse in this art. a discourse that, in the deep layers of its investigation, shows the impact of issues such as: technology, politics, culture, the interests and tastes of youth, the authority of the music industry mafia, the negative attitude of national radio and television, etc.

Abstract The collection of legends, folk ballads, folklore, beliefs, ideas, tales, customs, songs, and the early arts of a nation is called “folklore”. Alongside official literature, which is crafted and endorsed by those in power and is aligned with various structures of “authority”, “folk literature” does not originate from official sources within society and no “authority” plays a role in its creation and continuation. This research examines the “anti-authoritarian” discourses within folk literature and analyzes how folk literature, by distancing itself from sources of power and authoritarianism, strives to limit and oppose manifestations of authoritarianism. It also explores the tools and strategies used in this endeavor. Rarely has literature and literary works been devoid of anti-authoritarian concerns, but from the early 1940s to the late 1970s, influenced by socio-economic changes and the teachings of political parties, and based on the prevailing political-philosophical trends in the contemporary world, a type of combative literature emerged in Iran. This literature made the struggle against despotism and colonialism the main theme of the prevailing culture, and in the interactive relationship between literature and society, militancy and revolutionary spirit gained theoretical and practical authenticity. Influenced by this environment, where power and authoritarianism were subjected to criticism and challenge, Ahmad Shamlou, with his special interest in folk culture and literature, succeeded in creating a type of folk literature, one of the achievements of which was “opposing and limiting power and authoritarianism” using the language and capabilities of folk literature.

Abstract Dialectic is an old word, which has been used throughout history and in different topics with different meanings. One of the meanings of dialectic, which is the basis of this research, is the process during which the reconciliation of opposites creates a third entity or concept. Based on this, fifteen poems by Nima and the poets after him have been examined and analyzed in the following essay. The mentioned examples have been selected from prominent poems such as "Ai Adamha" and "Zemestan", which have as much as possible poetic indicators that can be generalized to most new poems, and also include different types of social, mystical and philosophical and different styles of dialogues and introverted & extroverted monologues. Studies show that poets have used the dialectic process on a large scale for messaging and secondary meaning of speech. Although, in combining and reconciling the opposites, according to the taste and style of each poet and the necessity of the subject, they have benefited from different linguistic and semantic possibilities. Therefore, all kinds of new poems have found a similar structure based on the three pillars of thesis, antithesis and synthesis. The reader's consideration in this dialectical structure can facilitate their entry into the meaning depth of the poem (synthesis) through the concept-creating and meaning-creating combination of two external pillars (thesis and antithesis).

Abstract The story is the character in action. As the characters get more consistent, new signs of their characteristics are revealed, and this causes reactions from them to each other that are completely different from what was previously in mind. Therefore, personality is the result of two impulses. Impulse of individualization and type impulse. Ernest Hemingway in the novel Pirmerd wa Darya and Sadegh Chubak in the novel Tangsir have used common and diverse methods in the characterization of their novels, which include presenting believable characters, using few names in the opening chapter of the story, people with unclear motivation, physical and psychological description of the character, Giving information through secondary characters, expressing the psychological background of the character, brief and useful characterization, accidental characters, intermediate characters, permanent characteristics of the character. The purpose of this research is the comparative analysis of one of the important elements of the story (characterization) in the novel The Old Man and the Sea by Ernest Hemingway and Tangsir Sadegh Chubak. The research method is descriptive-analytical and in a library style. The findings of the research show that in both works, three indicators are prominent and have a high frequency in common, which are: describing the character, believability and truthfulness of the people in the story, mentioning a small number of names at the beginning of the story.

Abstract With the collapse of unitary and absolute narratives in the postmodern era, the concept of love has transformed into a collection of individual and diverse experiences. It's a multifaceted and fluid concept intertwined with social, cultural, economic, and technological changes. Love in this era is viewed differently by each individual and is constantly being redefined and reconstructed. One of these definitions is the concept of liquid love that Zygmunt Bauman used to describe the nature of emotional bonds in postmodern society. He argues that emotional bonds in this era have undergone a profound transformation from traditional definitions. The image presented of liquid love in Houshang Golshiri's novel Christian Va Kidd provides a clear picture of the transformations in emotional bonds in postmodern society. The results of this research show that the bonds in this novel are heavily influenced by the concepts of liquid love. Love is no longer a fixed feeling, but rather changes based on the inner references and individual desires of the characters. Loyalty and commitment to a covenant are not observed in any bond. What shapes a relationship or ends it from the characters' perspective is the presence or absence of the pleasure component. Sexual relationships exist extensively among the characters, which are not afraid to engage in them without fear of exposure. Incompatibility and conflicting emotions are frequent. Bonds end easily without any individual or social anxiety, and individuals freely seek new experiences.

Abstract Modern historicism is one of the approaches of literary criticism. In this method, the boundary between history and literature is removed so that the relationship between the text and its historical context can be examined based on that. Considering the social and historical influences of different eras on literature, this research examines how history and its social issues are represented in the novel of Malekan Azam by using the descriptive-analytical method from the perspective of historical criticism. This is a novel; the main questions are whether the real and true examples of the characters, place, time and events and actions of the story point or refer to real and historical issues? Most likely, the author in this novel refers to historical and fictional events and characters. It puts together and analyzes and explains the historical contexts related to the Babiyya and Baha'i sects, and in fact, parts of the beliefs and actions of the owners of these two sects are reflected in this story. Also, the characters of the novel are introduced as symbols of historical figures and important events in the history of Iran. This research, in a new and hypothetical reading, seeks to find the historical and real meanings of the characters, place, time, and special and ritual actions of the fictional characters, even if it is assumed, to show how the novel Malekan Azab not only represents history, Rather, it also deals with a deeper analysis of the beliefs, ideas and contradictions in the Babi and Bahai sects. One conclusion that can be obtained from this research is that according to the themes and especially the Sufi beliefs and actions in the work, it is possible to describe artistic views. He assumed the sect of Bab and the personalities related to that sect. In fact, it is assumed to understand the existing sectarian concepts based on various evidences.

Abstract Avant-garde ghazal, the first signs of which were seen in Persian poetry in the 1970s, has been mentioned by many names. Form ghazal, postmodern ghazal, metaghazal, varied ghazal, automatic ghazal, text ghazal, etc., each of which implements a part of avant-gardism in ghazal. The main feature of all these types of ghazal is that they have included changes in the normal structure and form of the classical ghazal and they claim to create a new and fresh structure in the ghazal.
This article examines the structural damage of the avant-garde sonnets and answers the question of what effect the structural damage has had on the sale of the collection of sonnets related to these trends. To investigate this question, a self-made questionnaire was used, and the data were analyzed with the statistical software spss and the univariate t test. The results show that changing the form of ghazal and adding inappropriate words and breaking language are the most important harms that have affected the audience's happiness.

Abstract Multiple factors influence the interpretation of a poem. Each literary work can contain specific semantic possibilities that aid in its better interpretation. The mention of the time a poem was written, as provided by the poet, is one of the paratextual elements that contributes to the interpretation of the poem. In this research, conducted using a descriptive-analytical method, the issue of the poet's own interpretation of their poem and the mention of the time of composition as a factor for this self-interpretation is first addressed. By examining the works of some prominent contemporary Iranian poets, the impact of the poet's mention of time on the interpretation of poetry is categorized into five groups: 1. Mention of time in service of sociological critique of the work. 2. Mention of time in service of psychological critique of the work. 3. Mention of time in service of understanding the poet’s poetic evolution through developmental critique. 4. Mention of time in service of the discourse of the era in which the poem was written. 5. Mention of time in service of critiquing seasonal images and metaphors in poetry. In examining these categories, evidence from contemporary poets' works is presented for each of the five groups, followed by an analysis of them. The mention of the date of composition in each of these five categories reveals the social, psychological, political, and aesthetic contexts of the poem, facilitating a more precise critique through examination, analysis, and interpretation.