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Magic Realism is a modern fiction style. Although it  invokes  a  South  American's  name  and  Gabriel  Garsia  Markez, specially, it  is  typical of  the third  world  nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions  into  two  groups: The  first  one, fictions  that  have  been written  in  Magic  Realism  style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both  groups  of fictions and the rational why Saedi followed this style will be  discussed.  

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Social Realism belonging to the domain of art and literature is a type of political aesthesiam affirming the mechanical unity of idealogic and static principles. The post-revolution theoretical discussions of this literary school in Octobr 1917 were inspired by the ideas of Karl Marx, Friedri Engels and Veladimir IIych Lenin. The Mother by Maxim Gorki is the masterpiece written in this era. The basic principles of Social Realism, emphasizing the realistic reflections in the social domain of artistic productions and philanthropy were approved in Moscow, Augest- September 1934. Although this congress was a literary one, but its principles were generalized to other domains of art, i.e. painting, music and cinema etc. Social Realism was rather concerned with making changes in the of literary works.This is why some themes such as fighting capitalism, historical optimism, war, revolution, informed history-orientasion, labourer, revoluton leaders and red army were taken up by literature and art field.      

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Shohar-e AhooKhanoum, written by Ali Mohammad Afghani, is an excellent andexciting novel which potentiallyreflects the social problems. Due to its capacity in representing the specific social problems, this novel has gained a special status in Iran's contemporary narrative literature. The essentialelements of Realism in this novel show that its writer has been greatly influenced by the principles of Realism, and his basic techniques in the development and organization of the story are primarily Realistic. Afghani tries to adapt the events, characters and other aspects of his novel to the main principles of Realism representing the social realities on the basis of his own observations and experiences. By creating lifelike characters and focusing on social events, the writer puts a clear mirror in front of the reader in which he can observe the problems of the society. This article is mainly an attempt to discuss the Realistic aspects of this novel in order to unravel the hidden aspects of events.  

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Fantastic Realism is a genre which remind us of Russia and its great writer Dostoevsky. This genre has been developed in Iran among Iranian writers who have been familiar with the books of world literature, especially Russian literature. Fantastic Realism employs and combines reality and imagination, and while it concerns the reality related to human beings, it pictures that kind of reality which is internal. That is why the reader has some difficulty in finding the true meaning in such novels. Among the Iranian writers, Khosro Hamzavi is more inclined to this genre and the novel The City which Died under the Cedar Trees is one of the best novels of this writer which is written on the basis and reflects Fantastic Realism. The City which Died under the Cedar Trees is discussed in this paper based on Fantastic Realism using a descriptive-analytic method.

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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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The theme of most of the Sufi anecdotes is the Kerāmāt (miracles) of the Sheikhs (elders). A large volume of mystical memoirs and biographies and some other Sufi texts can be included under the title of “Kerāmāt Anecdotes”. These anecdotes have always been the subject of acceptance or rejection by various groups of their audience. Determining the type of reality in these Kerāmāt anecdotes and classifying them under a particular view of reality is one of the most important issues surrounding these anecdotes. There are several ways to accept the Kerāmāt anecdotes, but the best and most comprehensive way that the author advocates in this paper is the analytical realism of Kerāmāt and the attainment of a type of mystical or Sufi realism. Those who neither submit to devotional acceptance nor are themselves in the path of mysticism to attain the truth of Kerāmāt by means of discovery and intuition, can arrive at a level of acceptance of Kerāmāt with the help of specific analyses. However, in the realistic analysis of Kerāmāt, there is no reduction or limitation in the phenomenon. The present descriptive-analytical library research seeks to identify the type of reality in this particular narrative in order to prove that the reality of Kerāmāt anecdotes is not equal to any existing or familiar reality and as a result these anecdotes need their own specific realism.        
 

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The term “trauma” is used to refer to a situation in which a person’s psyche is harmed by a traumatic event. Žižek argues that trauma is the result of unexpected intrusion of the Real (event) into the Symbolic (symbolization) and acquires meaning in the structure of the Deferred Action. People’s reaction to any traumas is acting out or working through. In the acting out process, the patient displays sign of mental disorders like nightmares, yet in the working through, the patient hides mental suffering in the subconscious and fantasies and transfers the sufferings to another place by means of creating a fetish narration. Regarding the psychological nature of the trauma, the patient is unable to convert it into the Symbolic, and this psychological problem can be recognized only by its symptoms in the person. However, psychologists believe that the only treatment for trauma is to change it to the Symbolic. This study aims to investigate the way of representing trauma in the novel The Dead Dolphin by Hassan Bahrami. The findings show that he has successfully overcome this challenge by utilizing magic realism and its imperceptible combination with trauma features. Through combining local myths with trauma and taking advantage of their dual and contradictory nature, Bahrami has created a strong link between trauma and magic realism and portrayed the character’s trauma. This study proves that magic realism is a proper technique for writing psychoanalytic novels to represent and symbolize people’s trauma.