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Zeidari Nasavi’s Nafsat al-Masdoor is one of the few works which are written in technical prose and mainly aim at conveying meaning rather than affection. Considering the emotional strain of his literary text, Zeidari believes music has the highest effect on conveying the feeling, and in various ways, including the use of elements of prosody, literary figures, and the selection and arrangement of the terms in Paradigmatic and syntagmatic ways, he creates a musical effect in his text. Thus, by working on his style and manner of writing and by employing different diction not only he created music in the text, but also because of the dominance of music, the meaning has changed. This method of writing made him to be more careful in choosing his words, for the changes he affected in the standard language have been the effect of vocal arrangements and defamiliarization. This has also made his work on history more imaginative and closer to lyric literature and poetry.

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Feministic criticism concerns the function of specific feminine cultural and ideological constituents in literal works. In its approach to narrative this kind of criticism follows two methods. First, the attributes of women and their role and personality in course of the story, and second a critique of women presented which studies female authors. Sorkhi-e-to az man by Sepedeh Shamlu is one the feministic novels, which concerns the world of women in recent years. It has attracted the attention of many readers interested in Persian contemporary novel. Considering the importance of this novel in the process of feministic narrative writing of post-revolutionary Iran, this paper attempts to explore the elements of feministic narrative following an analytic-descriptive method. The findings of this paper show that this modern novel seeks to cast doubt on the differences of men and women through a deconstruction method. The female characters of the novel consider their identity and situation to be molded by imposed patriotic social relations, which are created by men and the dominance of masculine language. By considering the beliefs, worldviews, emotions, privet parts, women’s feelings of disgust and fear, lewdness, objection to masculine gaze, choosing short sentences, etc. in the text the researchers attempt to highlight the feminine style of writing.

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Contemporary poetry can be divided into the poetry of before and after the Islamic Revolution. Among the post-revolutionary poetry, the Pishro or avant-garde Poetry is the most important style of poetry. The well-known figure of this kind of poetry is Reza Baraheni (1935- ) who became the most influential poet of the Post-Revolution Poetry with the publication of his Khetab be Parvane ha and introducing his literary ideas in different articles. Baraheni attempts in his poetic theory, which is known as lingual theory, to reach multilingualism in poetry, multiplicity of forms and language, disintegration of meaning, disintegration of narrative, disintegration of grammar, formalism, and disintegration of description. In the present study, topics such as morphological innovations and morphological and syntactic deviations in Khetab be Parvane ha are studied. As a result, deviations in these poems are divided into two: the successful linguistic part where Baraheni manages to bring some new words into Persian language without disturbing its morphological structure, and the unsuccessful syntactic part where all the rules governing the sentence have been disturbed.

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The modern literary movement in Iranian fiction writing is the most important movement in Iranian literature and the best author in this movement could be noted as Bijan Najdi. He was an anarchist and Empiricist author. Najdi’s stories are full of metaphors and similes, a trait which makes the language of his stories closer to the language of poetry and givessuch a stylistic distinction to his works that he is considered in Persian literature as the founder of poetic fiction. The most important factors that mark Najdi’s stories as modern stories are elements such as poetic language, use of time gaps and penetration of  the mind of his characters. In this paper surveying the narrative elements of "An Indian in Astara", we demonstrate that the story is a modern story and that Najdi employs modern narrativeelements, such as confrontation of life and death, imagination and reality, and acceptance of the situation and idealism, in order to express his ideas and the intellectual foundations of his thoughts.

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Non-verbal communications could be a part of visual signs that, because of their importance in interpersonal relationships and transition of meaning, are highly regarded by psychologists and sociologists. One of the major subdivisions of this topic is called "Body Language" that has existed in all human societies since ancient times. These non-verbal signs, some thousands of years old, have cultural and rhetorical functions, with common and sometimes conflicting aspects, in the cultures and social traditions of different tribes. The more ancient and comprehensive the literary context of a piece of research is, the more valuable that analysis in explaining the cultural, social, and even aesthetic aspects of texts will be. Shahnameh of Ferdowsi, as a representative of Iranian culture and thought in prehistoric age up until the Islamic era, can be the best representation of metalingual communicative performance in Iranian cultural history. Due to the prototypic nature of characters in Shahnameh, many of their non-verbal signs can also be considered the archetypal source of the behavioral interactions or body language of the Iranian people when in the context of epic their national and social identities as Iranians are formed. In this article, attempts has been made to decode these obscure and complex cultural concepts by exploring the "body language" in non-linguistic acts of main characters in Shahnameh. The results of this research demonstrate that the body language of characters in Shahnameh is not accidental but totally conscious. Indeed, the purpose has been to draw the attention of the readers to rethink the patterns of individual and social behavior of Iranian and non-Iranian ethnicities so to recognize the cultural identity mainly through irony and symbolism.

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The Reduplications are made by repeating part of the base. The repeated part does not make sense and will never be used alone and is just popular in spoken language. In recent times, they have been used in some texts of poetry and prose, in particular, in stories written in vernacular. This research, with a historical approach, and with an analytical-explanatory method, examines the information obtained from literary and historical sources; and while analyzing the use of reduplication in Persian language and literature, it investigates three hypotheses: first, the effect of the changing of the face and meaning of the ancient Persian vocabulary on the formation of reduplication in Persian language; second, the effect of the Arabic syntax on the formation of reduplication in Persian language; and third, the effect of Arabic vocabulary and synonyms on the formation of reduplication in Persian language and literature
According to the findings of this research, the history of the use of reduplication dates back to the thirteenth century AH. Most of the compositions, from the first to the thirteenth century AH, are seen in poetic and prose works, and the writers of dictionaries have described them as examples of reduplication but in fact they are synonyms connected by conjunctives which due to a change of face and passage of time are mistakenly claimed to be reduplication. Reduplication has been introduced into Persian language since the thirteenth century AH. This was due to the prevalence of Arabic vocabulary in Persian language and also people’s habits of using synonyms in speaking. Along with developments in Persian prose and the tendency of writers to simplification and vernacularism, these compositions were introduced into Persian texts, especially satirical fictional works. 

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One of the Prose styles of the contemporary world is focused on the reflection of the outer world on the world of the story. This is widely used in the works of realist and naturalist Iranian writers. Sadegh Chubak, one of the prominent contemporary writers, has achieved a unique language by presenting the reality in his artistic prose. The aim of this research is to analyze the process of creating the meaning of reality in paradigmatic and syntagmatic axes. By an analytical-critical method and with the help of relevant theoreticians in this field, the author has analyzed Chubak’s realist-naturalist prose to highlight the features of naturalism in his prose as an artistic style of writing. It is concluded that Chubak’s writing is artistic and is far and beyond the hackneyed referential prose styles usually associated with naturalism.
 

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There are hypotheses in the history of human culture and civilization in which we can find undeniable similarities and commonalities among them, despite their vastly different cultural and historical contexts. For example, finding commonalities between the language of two artistic aesthetic hypotheses, Sufism and Surrealism, which are very different from each other in terms of context, time as well as cultural and historical emergence, is so difficult. Our main issue in this paper is that there are undeniable similarities between these two hypotheses. This is done by means of a descriptive analytical method and comparative literature approach, particularly in American mode of it, whose aim is to study literature across the borders of given territory and research about the relation among literatures and any other epistemic areas such as art, history and philosophy. We found several common aspects between the languages of these two movements. For example, they use rebelliousness and innovative imagination, symbolism, dream, subconscious mind, love, satire, automatic writing, and madness. They also both guide humans to what is superior and profound.
 

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Communication includes all the ways that human beings can influence others. This involves not only speaking or writing, but also all human behavior in various ways, so there are two types of communicational signs that human beings use: verbal and non-verbal signs. In communication science, special attention has been paid to how non-verbal signs influence message transmission. The research has shown that a large proportion of messages are transmitted to others through non-verbal signs. In poetry, the poet uses both verbal and nonverbal signs to be more effective in relation to the audience, but often in the analysis of poetry, the focus is on the verbal signs. Mehdi Akhavan-Sales is one of the most remarkable poets of contemporary narrative poetry whose specific characteristic of his poetry makes it suitable to use the non-verbal signs. In this study, the use of non-verbal communicational signs has been discussed to answer the following questions: Which non-verbal signs did Mehdi Akhavan-Sales use in his poetic images? What induces non-verbal signs in his poetry? Is there a significant relationship between the signs of non-verbal communication and the dominant thought of Akhavan in his poems? This study shows that Akhavan transmitted some of the concepts and messages in his poetry by depicting non-verbal signs related to the eyes, hands, feet, head and neck, lips, mouths, etc. The frequency of using these signs is higher in poems that have narrative features. The messages conveyed by these signs are often sadness, fear, concern, anxiety, uncertainty, and despondency. The high frequency of false smiles and the frequent use of phonetic messages of silence indicate that duplicity, and improbity made his poetic atmosphere full of despair. The use of these signs shows that instead of explaining a feeling or trying to convey a message, he presents an effective poem to the audience in a succinct manner.
 

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The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.  
 

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In Modern Persian, different forms of the verb “goftan” (meaning “to say”) are used as grammatical tools for denoting modality. Some of these forms such as “gu”, “gu’i”, “gofti”, “gu’iyâ” and “guyâ” went through historical changes and were used as modal adverbs in Persian literary texts and among them, “gu’i” and “guyâ” are still common. In Modern Persian, there are other forms of the verb “goftan” such as “begu”, “nagu” and “begu’i”, which function as modals in certain contexts. In this paper, we studied the semantic features of the verb “goftan” in texts belonging to different stages of Persian language from Old Persian to Modern Persian and we also tracked the process of grammaticalization of certain forms of the verb “goftan” to show how they changed into modal adverbs. Based on our findings, “gu’i” has been used for purposes such as simile and allegory to represent imaginary and unreal statements and “guyâ” has had a modal role to represent doubt and uncertainty of the speaker. Both forms are still in use. Moreover, some forms of the verb “goftan” are in the middle stages of grammaticalization. These forms represent the modalities of inference, conjecture, assumption, and imagination, but some of them are gradually losing their verbal characteristics and are changing into adverbs to represent modality.  
 

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The purpose of this research is to describe and analyze the elements of Persian language in ancient jurisprudence texts. In this paper, using induction, descriptive and analytical method, examples of Persian words and elements in selected ancient jurisprudence texts, and some linguistic, grammatical, and syntactic features of these examples are analyzed.Additionally, some prominent features such as the simultaneous use of Persian and Arabic words, changing the syntactic structure of the sentence, and the semantic change, phonological and phonetic evolution and distortion of Persian words in the ancient Arabic and Persian jurisprudence sources are examined in more detail.The results show that the Persian language has a special place in ancient jurisprudence texts among non-Arabic languages as most non-Arabic words in these texts are taken from Persian language.In addition to the ancient jurisprudence sources in Arabic, there are a few valuable ancient jurisprudence sources in Persian, which are considered valuable examples of the use of Persian as the language of religion.This study shows that most of the authors of ancient Arabic jurisprudence texts who were influenced by Persian language were either from Persia or familiar with Persian language of Fars province or were Arabic-speaking jurists in whose works the social life of Persian-speaking Muslims is manifested.In the present study, two parts of these jurisprudence works have been dealt with more precisely: First, the ruling on the Persian translation of the recitation of Surah Al-Fatihah in prayer, in which the jurisprudence sects have three distinct views on this issue.Examining the arguments and evidence of these views, a detailed view on the permissibility of the Persian translation of Surah Al-Fatihah in case of inability to read correctly and its impermissibility in case of ability to read correctly has been chosen.The other is the jurisprudence view of expressing divorce in Persian, in which there are two distinct views. The chosen word in this issue is the view of the correctness and jurisprudential possibility of divorce in the language of any ethnic group.
 

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In the seventh to eleventh centuries A.H., Muslim rulers came to power in the Indian subcontinent who were interested in Persian culture and language. Following this change, the Iranians emigrated to India for various reasons and gained a variety of political, military, and economic powers at the court of local rulers, paving the way for the growth and spread of Persian culture and literature in the Indian subcontinent. Maulana Noureddine Mohammad Zohuri Torshizi (944-1025 A.H.) was an Iranian poet from Khorasan who emigrated to India in the tenth century and served the rules of Nizam Shahi and Adil Shahi dynasties and became the poet laureate in Deccan. During his four decades of presence in Deccan (southern India), Torshizi worked hard to spread the Iranian language and culture. In the present article, by descriptive-analytical method and using library sources, an attempt has been made to explain the role of Zohuri Torshizi in the spread of Persian culture and language in the Indian subcontinent. The findings show that Torshizi, despite many obstacles, especially calumnies by the enemies of Iran and of the Shiites in Deccan, with the support and encouragement of the rulers, was able to spread Persian culture and language in the Indian subcontinent by creating valuable literary works. The results of the present article provide a realistic picture of the role of Zohuri Torshizi and his literary works and how to support and encourage Nizam Shahi and Adil Shahi rulers in the development of Persian culture and language.
 

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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.
 

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Most of the research conducted on the subject of “language” and its role in the field of mystical texts, has focused on the objective reflection of language (the investigation of language in speech and writing), an area that is actually regarded as second-order knowledge. It is very important to pay attention to the first-order knowledge, which is defined as knowing the nature of the language itself and every individual (mystic’s) interpretation of what it is – which is mostly neglected. That is why before the stage of proof and realization of language; the position of proof and interpretation of the language is a principle, and before the language reaches the level of realization and emergence, the manner of its interpretation and determination is formed. One of the thoughtful mystics who contemplated about the nature of language and wrote about it in his works is Imam Mohammad Ghazali. This study, based on a descriptive-analytical method, tries to investigate Imam Muhammad Ghazali’s thoughts on the field of language and its nature (first-order knowledge) in the light of some of Saussure’s linguistic ideas. The emergence and realization of language in the form of terminology and universals (second-order knowledge) is another aim of this research. The results indicated that, in explaining the subject of language, as a philosopher, Ghazali discussed the makeup and nature of language and from the point of view of a linguist, he looked into the process of language development in spoken and written forms.
 

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Language reformation is one of the most controversial reformations in the process of modernization. In this regard, language engineering is considered as a risky social-political experimentation in any country. In Iran, The Berliners, an influential school of thought in Iranian intellectualism, were the pioneer of the reformation of Farsi. Through their activities including treatises, journals, and conferences in Iran and Europe, they formed the most active intellectual group of Iranian immigrants in the contemporary time. Exploring their publications reveals they have adopted a pathological approach to language-related problems and have proposed practical and reformational solutions to problems. Their publications took a moderate policy to describing the challenges faced by Farsi and criticizing the reformation of Farsi. Regarding the importance of The Berliners and their publications in the modernization of Farsi, the present paper explores the role of the publications made by The Berliners on language engineering in Iran.
 

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Nasser Khosrow's poetry is full of intellectual arguments, religious topics, sermons and judgments, etc., which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar has tried to present the heritage of Sufism of Khorasan and the heritage of poetry before him in a different way, with a simple language and free of glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. The present research, which is written in a quantitative and statistical method, deals with the statistical and comparative analysis of the structure of the poetic images of Nasser Khosro and Attar. The results of this research show that the simplicity or complexity of a poet's language has little to do with the structure of his images; In other words, the simplicity or difficulty of a poet's words cannot be considered simple or complex in the geometry of his images. The language of Nasser Khosrow's poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem's images, and most of his poetry's images are simple and far from complex. On the other hand, the structure of Attar's poetic images, despite the simplicity of the language and appearance, has a subtle and narrow complexity that cannot be integrated into a network except by analyzing the rhetorical materials used in the construction of the images. understand the relationship of those tools with each other; In other words, Attar's language is simple and his images are complex.