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The following issues will be explored in this article:

Mohammad Taghi Bahar's attitude toward the important international developments including the first and second world war and the consequences of the 2 wars; the situations of Iran and some Asian and European governments in the 2 wars. Given the enormous effect of political pacts and agreements between Iran and other government on the cultural, social and political affairs of our country, the Bahar's reaction to these pacts and the political and military interference of foreign countries especially Russia, England and US are worth considering within a cultural and historical framework.

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Iranian scholars like Allame Ghazvini, Foruzanfar, Khazaeli, among others, have attempted to look for the main motifs of Sa'di's ideas within the old Arabic poetry. In a detailed study, Hossein-ali Mahfuz claims that the main themes of sa'di thought should be sought in the poetry of Arab poets like Motanabbi. It is understood here that the role of the Iranian ancient culture and literature has been ignored. In the meantime, defenders of Sa'di   have tried to account for the claim mentioned above by appealing to factors like the accidental occurrence of a thought to two different poets unknown to one another, competition at composing a single theme, and by mentioning humane and lofty intentions in Sa'di's texts. Adopting a different approach, the present article attempts to go further back beyond the Abbasids to the Old Iranian culture and literature in the quest for the origins of Sa'di's thought. It will investigate thirty such texts not mentioned in the studies available. These are presented as samples, to demonstrate that our researchers, instead of looking into old Arabic texts, should search Sa'di's thoughts in the ancient Iranian culture.

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In ancient Iran, mubeds were always among the most prominent authorities of the country and were highly influential in kings’ courts. This role is well depicted in Iran’s most famous national epic, and it is of such an importance that by examining their roles and positions in Shahnameh, one can find how religion and government were closely related in ancient Iran. In Shahnameh, the mubads’ responsibilities were not just limited to conducting religious ceremonies and rites. They enjoyed power and authority in country’s administration and were the most educated people of their age. They were responsible for the education and also narrated ancient stories. Observing the economic affairs and bearing the flag in battles were other responsibilities of the mubeds which are also well depicted in Shahnameh. It should be noted that “mubed” in Shahnameh is used as a generic term and it is not always used to mean a “clergy”. Rather, its meanings had expanded and the term was attributed to wise and erudite people. In this paper, the authors attempt to explain the functions and hierarchies of mubeds according to Ferdowsi’s Shahnameh.

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The aim of thisarticle is to depict the true, scholarly and deep interest of Iqbal Lahori, the great Pakistani poet,in Iranian culture and Persian Language and civilization. First a couplet out of his renown Ghazal composed on Iranians, which represents the works in verse and prose attributed to Iqbal Lahori , is discussed to show that he was well familiar with the Iranian culture and even with some particular symbols in Persian literature.Thenthe five subjectsof religion, philosophy and theology, mysticism, reason and love, and Persian language, which are the most important constituents of the Iranian culturalare explained and discussed in relation to the work of Iqbal Lahori.It is concluded that the Iranian cultural components,rites and traditions are blendedthoroughly with his literary and philosophical books. 

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The Poetry of the Constitutional period in Iran has been a turning point away from encomiums and mystical poetry of the prior ages. This shift is primarily characterized by a poetry dealing with socio-political issues such as freedom, homeland, etc. Contemporaneity of the Jadidieh Period in Tajikistani Poetry with this era in Iran paved the way for the maturation of the Constitutional Poetry in Iran. The method of the research is analytic-comparative and aims to investigate how this two interact in terms of subjects and contents. This study classifies the poets into three categories of “patriots” (like AdibulmamalekFarahani and Irajmirza in Iran and Fitrat in Tajikestan), “revolutionaries” and “elegiast” (like NasimShomal and MomenGhena’at in Iran). Studying the poetry in this period shows that the title “Motherland” is the first shared subject of Iranian poetry (Constitutional movement period) and Tajikistan (Jadidieh) which replaced the romantic lyrics of the previous age. The poets in the era of “Awakening” and modernism speak in their poems of their love of homeland, “freedom”, “prosperity” and “progress”. The topic of “homeland” both reveals the universality of the subject in the literature of this era and also indicates the changes in their essence and tones. Of other common thematic issues are 1- Fighting with dictatorship inside the country and defending motherland against foreign threats, 2- human rights, women’s rights and gender equality, 3- freedom and law, 4- acquiring modern sciences and education, 5- reforming and modernizing poetic topics and using colloquial terms, 6- fighting with religious superstitious ideas and ignorance.

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At some historical points, all classes and professions of a society, despite all the differences and disagreements, flow into one single stream to reach a higher goal. Iranians have had this historical experience many times throughout history: during the Constitutional Revolution (1905-1911), and also in the Islamic Revolution in 1979. In the Constitutional Revolution, all classes and professions of the society sought a higher goal that was the eradication of despotism and the establishment of the reign of law. In this Revolution, Persian literature, including poetry and prose, was at the service of the Revolution and satire became the revolutionaries’ main media. Literature of this era became so thoroughly mixed with politics that we can consider the great literati of this period as the great makers of the history of Iran. In this article, we have tried to explore and prove their importance.

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Firdowsi's Shahnameh, the poetic mythological epic of Iran, is created on the base of opposite forces of the world, namely Iran and Aniran and the battles of their people, because the design of the mythological history of Iran is also basically created on the intercourse of opposites .One of the most comprehensive philosophical views on history is  Friedrich Hegel's attitude. In this view, the nature and purpose of history is the same as nature of the human, and the nature of the human is the attainment of consciousness and freedom. This freedom can only be realized gradually and dialectically; hence, in the Hegelian philosophy the war is a way to dialectical furtherance of history and the inception of the struggle between human beings, as gods and servants, has been introduced as the basis for achieving self-consciousness. The battle between human beings in Firdowsi's Shahnameh resembles the dialectical relation of "Gods and Servants" in Hegel's philosophy. In the mythological part of Shahnameh, the achievement of self-consciousness is only through the battle of the two sides of the opposition, as gods and servants in the battles between Jamshid and Zahak, Zahak and Kaveh (and then Fereydoun), the sons of Fereydoun, and the subsequent martyrdom of Iraj and his reprisal by Manuchehr. This essay, with an analytical-descriptive approach, will analyze the philosophy of the history of Firdowsi's Shahnameh, emphasizing  the relation between "gods and servants", and concludes that in this work all conflicts will achieve a resolution that can be identified as the moments of Hegelian dialectic, and in fact, the path to self-awareness and freedom, and this is the same as the possibility of reading  philosophy of mythical history of Iran in Firdowsi's Shahnameh based on Hegelian philosophy of history.
 

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Feuilleton is a writing genre which came into existence after the emergence of the press and the reasons behind its creation can be listed as compensating for the shortage of book publications, providing a new way to present long texts, and keeping and increasing the readership. Taking a history of literature research approach, we investigated this writing genre and its applications in the Iranian press from the outset up to the year 1320 SH (1941). While serialized stories have comprised the majority of feuilletons in the press, various topics such as plays, travelogues, biographies, and historical texts have also appeared as feuilletons. In the early Iranian press, various terms were used for this genre, such as ‘ghesmat-e tahtāni’ [bottom section], ‘fiton’ [feuilleton], and ‘zeyl’ [appendix / footnote]. It was Ettehad-e Eslam Newspaper that first used the term pāvaraghi [~footer / footnote / = feuilleton] which was gradually picked up by other publications. The first feuilletons were published by Etemad al-Saltanah in Iran Newspaper and mostly had historical themes. The first fiction feuilleton was the novel neyrang-e siyāh ya kaizāne sefid [The Black Deception or White Maids] by Mohammad-Taqi Bahar which was published in Iran Magazine in 1298 SH (1919), and the naming by certain researchers of the novels tehrāne makhōf [The Dreadful Tehran] or dah nafar qezelbāš [The Ten Qizilbash] as the first fiction feuilletons lacks scientific rigor. The most important feature of this genre is its serialization, and variety in its topics. Considering its style of writing, no particular linguistic feature can be attributed to this genre; rather, the style of writing in this genre follows the style of its authors or translators.

 

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In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.