---

One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era. 

 

---

Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of ​​the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.
 

---

 

---

The tree has a special importance in Persian poetry. Religious, mythological, moral, mystical and political cultural elements have propositions influenced by trees. After water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. With the emergence of various political events in the last century, on the one hand, and the creation of many ideas and artistic styles, on the other hand, the creative ways of connecting natural phenomena with human elements are highlighted. The image of the tree in the new poem finds a new and multifaceted expression. Modernist poets give special roles to non-human elements, and from this middle, the tree of human-like kinship is the one that shows the evolution of human society in its stature. By analyzing and describing the poetic evidence in a library method, it is revealed in the thought of the selected poets that the tree is a diagram of personal failures, love, a medium of perception, an indicator of freedom, an indicator of the ecosystem, symbolism, the image of death and friendship, reflection Tyranny and denial of human existence in the rule of tyranny.
​

---

 The issue of "subject" is the most important indicator of the distinction between classical and modern literature. "I" in classical literature is often general and abstract, but in contemporary literature, following modern philosophy, I is individualized and concrete, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the "subject". Contemporary poetry, from its most superficial romantic aspect to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human-centered.Ahmad Shamlou is one of the poets whose"I" is subject in his poetry. This research deals with the hermeneutics of self/subject in his poetry by the method of qualitative content analysis and critical reading, by studying the collection of Shamlou's poems and selecting suggestive examples. Since this I/Self/Subject has been subjected to turbulences and changes during the six decades of writing poetry, the theoretical support of the discussion is based on these developments, and also deals with the philosophical subject which emphasizes on individual thought and consciousness. and to a subject that is a social construct; That is why it is a compilation of the theoretical support of the article is a synthesis of Michel Foucault's discussions about the hermeneutics of self and governing oneself and others, the theory of symbolic interaction that deals with the individual I and Me, the theory of existentialism that focuses on freedom, choice and responsibility. Finally, because "I" in Shamlou's political poetry is as an ideological pseudo-subject under submission of the Tudeh party, but in his philosophical poetry, the result of knowledge and awareness based on his own lived experience, and thinking on existence, man, life and death, as the supreme subject (Subject), which leads to the formation of the subject in Althusser's view.

---

The controversy over Nima's literary theory and poetry has a long history. Literary critics, each of them, supported Nima and presented a special interpretation of him. The problem of this research will be to read the opinions of Barahani and Pournamdarians of the seventies as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani made mistakes in their understanding of Nima and sometimes they went too far in their opinions. Despite all this, it can be said that despite trying to understand Nima in a new way, Pournamdarian is still trapped by the stereotyped traditions of literary criticism, which makes him define new poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of Nima's theorizing and poetry, has gone to extremes in some of his opinions and announces a crisis that we can see in the poetry of the seventies. In other words, tradition and modernity are clearly incompatible in the opinions of these two critics. Pournamdarian wants to mix modern poetry with traditional criticism, and Barahani becomes dogmatic in his criticism.
 

---

The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.