کاووس حسن لی

In written narrative, from the perspective of today’s narratology and the reader-oriented critical view, imaginative and personal creation of setting in the mind of the reader is an important phenomenon. Our research examines these creations in the story of falling in love of KhorshidShah - the protagonist of the long folktale Samak Ayyar- and sketches a precise and part by part development of the narrative world drawn from the locations made possible in such settings. This article depicts that the narrator of Samak Ayyar, in some cases describes the setting briefly for the reader; sometimes uses the condensation and saturation of the described setting to achieve focalization and adds to its visual effects by describing the details in order to induce a setting in the mind; and other times leaves the existence of such locations to the imagination and deduction of the reader to reconstructs those settings of the narrative world, based on the symmetries available in the text; and in some settings utilizes both techniques in parallel, in order to introduce more locations. In this ancient substory, deductive creation of setting is one of the important elements which is used to develop and complete the other settings that the narrator has been obligated to describe them in the text; Also, we saw that by benefiting from the mixture of different types of setting creation, and the development of the map of the narrative world in intervals, it is possible to demonstrate much clearer and completer aspects of the space of long folktales in front the reader.

Divan –e- Hafez (poem collection) is one of the most precious literary and cultural treasures of Iranians. The main audience of this work are adults; But can teenagers relate to some of Hafez's poems and have an understanding of them? The most suitable way to get an answer (albeit relative) to this question is to ask the teenagers themselves; Therefore, in order to know the level of familiarity and understanding of teenagers with Divan –e- Hafez and to know their point of view about his personality and poems, a research was organized in the form of a post-doctoral research, of which this article is one of the achievements. This study is performed with the aim of measuring the teenagers’ knowledge and understanding of Hafez's divan and to knowing their views about the poet and his poems. In this regard, a questionnaire was constructed based on the objectives of the research, its validity and reliability were reviewed and approved, and was distributed among 401 adolescents from different regions of Iran. Findings show that these teenagers understand verses with the theme of friendship better than other selected poems of Divan Hafez, and the most popular poems of Hafez in their opinion are the poems written with the theme of love and friendship. They are interested in the character of Hafez and his divan and would like to know more about him, his thoughts, and his poems. 95% of the participants considered Hafez's selected poems as suitable works for their peers, and 72.81% of them counted the usefulness of these poems for teenagers as high and very high. The most important reasons given by the teenagers for their interest in Hafez's poems are: the variety of subjects, sweet language, pleasantness and calmness of the poems, simple meaning of many verses, ... .

The institution of the family and the methods of representing it in literary works, including fiction, have been considered in every era. Sometimes authors are attracted to writing family-centered stories relying on their knowledge of the family situation in their era. One of the issues of interest in sociology studies regarding this institution is the issue of power. Identifying the methods of distribution of power in the family shows many social changes that have occurred over time. Due to the increasing rate of these developments and their impact on the structure and function of the family, as well as the future of this institution, the durability or collapse of the traditional and modern forms of the family has become one of the most important preoccupations of sociological thinkers. In this research, based on sociological studies in the field of family, as well as the opinions of different thinkers in the field of power, the structure of power distribution and the methods of its application, the type of resistance to power and the sources of power generation in family relationships in 87 contemporary short stories by seven contemporary Persian authors in the decades 1960s to 2010s were examined; with the aim of clarifying whether in these stories, the power structure in the family is one-sided and asymmetrical, or based on the model of equal rights. It should also be clarified whether the authors were able to draw a picture of the current state of the family institution in Iran despite the existing restrictions and prohibitions. The results show that in these stories, the family structure is semi-symmetrical, non-linear and a combination of intimacy and dominance in line with the balance of tradition and modernity. The methods of exercising power are expressed in two ways: persuasion and coercion; but the type of resistance is more passive due to the adherence of members, especially women, to traditions and customs . From among power-generating sources in family relationships in contemporary short-stories, traditional beliefs and social status are given priority and next to them, we have the following issues: emotional dependency; men’s job dignity; women’s employment; education; men’s powerlessness, and women’s self-esteem and superstitious ideas.

Hafez's Divan is one of the precious literary treasures that different groups of people use according to their literary knowledge and intellectual tendencies; but can Hafez's poems be useful for teenagers? The authors of the upcoming article have organized a research to answer this question, and this article is a part of its achievements. The premise of the research is that some of Hafez's poems are linguistically understandable for teenagers and many of them can communicate at least with the basic levels of some poems. This research was carried out in two ways: one is the study of reliable sources related to the topic and its descriptive and analytical review, and the other is the compilation and distribution of a special questionnaire for teenagers. According to the results of the research, there are similarities between the characteristics of adolescence and many of Hafez's verses, which confirms their suitability for teenagers. Some of the capacities of Hafez's Divan to provide to teenagers are: The common characteristics between the adolescence period and Hafez's Divan confirmed that this work is not unsuitable for teenagers. Dealing with topics and concepts like knowing oneself and finding the meaning of life, idealism, moral and social issues, love and friendship (also characteristics of adolescence), the multiplicity and diversity of characters (human and non-human) and their processing method, as well as the narrative and dramatic atmosphere of some song, is among the capacities of Hafez to present to teenagers. These capacities can adequately answer many spiritual needs of teenagers; a safe space for internal dialogue; Thinking about realities, possibilities and imagining; a safe and intimate friendship, with common feelings and concerns; independence of action while benefiting from the guidance of reliable and knowledgeable people; and the need to identify and know God and achieve the meaning of life.

Numerous writings have been published about Hafiz's poems, however, this prominent poem still provides opportunity for new research. For the first time, the topic of "threat" in Hafiz's poems is investigated in this essay. In order to open a new window on a deeper comprehension of the mind and language of this mystical spokesman, we applied classified content analysis and thorough analysis of threatening poems. To accomplish this, we read The Divān of Hafez (Ghazvini and Ghani edition) and selected verses that have a threat-related connotation or denotation.Then we analyzed them from a variety of angles, including their speech acts, verb types, threat types, addressees of threats, reasons for threats, reasons for supporters of threats, effects of threats, and how threats are expressed in the context of Hafiz's Ghazal as a whole, both implicitly and explicitly. Study and analysis of the various threats found in Hafez's poems demonstrate that he possesses an inner strength with which he threatens religious foundations, praised issues, lovers, and others.

The contemporary era is the period of centrality of the Unknowable in human life and experience of extreme fear. One of the most important manifestations of this subject is modern fiction. In order to understand modern man more precisely on the one hand and to properly understand modern fiction on the other hand, it seems necessary to analyze how these works are affected by the Unknowable. In this study, by combining Ludwig Binswanger's Daseinanalysis and Roger Fowler's linguistic theory, a model is proposed for comprehensive study of the reflection of the Unknowable in modern fiction. Then, according to it, the story "Picnic" by Abutorab Khosravi, one of the major writers of our time who has a deep look at human being's fears is analyzed. The purpose of this study is to investigate the origins of fear in this story and to analyze the relationship between its form and content and the Unknowable. This study is conducted using content analysis method. It is argued that the narrator/ main character of the story is trying to figure out the Unknowable in the visible environment around him and experience angst in the form of fear of death. He has fallen apart; his tormentors are fragmented pieces of himself. The way narrative components are picked and arranged clearly shows the fragmentation of the narrator. Contradictions, repetitions and ambiguities have removed unity from discourse and text. It could be said that the Unknowable has seeped into form and content shaking them to the roots.

A popular media in the past, folktales were used for entertainment purposes. They also played an essential role in education. Education is the basis of awareness and change, and some of these stories are intended to change the intellectual structure and the practical behavior of fictional characters. In other words, such stories have had a therapeutic function. Sindbad-Nameh is one of those surviving stories from the distant past in which narrative possibilities are used to change the existing conditions. This article reads Sindbad-Nameh descriptively, using content analysis method to answer the fundamental question of how the inner stories of Sindbad-Nameh change the protagonist of the story in the process of meaning-making; and why are some narratives unsuccessful in this attempt? The whole body of the narrative tools in Sindbad-Nameh show the progressive process of changing the characterchr('39')s action. They guide the kingchr('39')s mind to self-awareness and self-control and prevent him from making hasty decisions. The structured group of the in-house narratives told by the seven viziers</em> allows the process of changing their targetchr('39')s mind and action, i.e. the king, because they enjoy meaningful suspensions. Like the links of a chain, the viziers’ stories support each other and have a unity of content and structure. The reason may be the long-term goal and the written plan that the viziers</em> are pursuing. On the other hand, the tales of the maiden cannot save the king due to their structural and conceptual disruption, and the lack of intellectual cohesion. These thematic ruptures can also be attributed to the maidenchr('39')s distress and anxiety. In folktales, a recurring element is womenchr('39')s deception and betrayal, one that is also highlighted in Sindbad-Nameh due to the nature of the storychr('39')s subject matter

There are various writings about the blind blindfolded by Sadiq Hedayat. In some of these writings there are some thoughts on the time of the events of this novel, and the historical contradictions in this work have been discussed and sometimes criticized. Referring to one of these criticisms, Guidat emphasized that this work is not a historical novel. Rather, it is a fantasy of history that has been formed in the narrator's mind. The emphasis on guiding his accuracy and obsession with the structure of the novel prevents him from thinking that he has neglected the element of time in this work. The best way to recognize time in this story is to look at the signs in the text. With care in the elements and elements of the building, three time intervals can be identified. Previously, two of these three periods have been introduced in articles. In this essay, with emphasis on the signs of the third period (Safavid period to Qajar), twenty-three "cultural-historical" signs of this period have been retrieved in the text of the Blind Owl. The presence of elements from different historical periods in the blind owl can be another reason for the mental journey of a rude narrator and anger that destroys fragmented historical ruins.

The Blind Owl is leading a complex novel that has been covered in a hint of ambiguity due to the recounting of mental memories by a disturbing narrator. Therefore, the recognition of the various elements of this text requires careful attention to detail in the novel. Location is one of the most important elements of the story; in this article, by examining some of the blind signatures of the Owl blind and its adaptation to the regions of Ray and Tehran, the attempt has been made to determine the probable place of the narrator's home. Based on these signs, this place is undoubtedly located in the northwestern part of the ancient rivulet and southeastern Tehran of the Qajar Safavid period. The hero's house is surrounded by shops, butchers, residents, and Galeskeh, and the only point in Tehran that meets these coordinates is the Chal Maidan Square. These two sites are close to the Turkmen neighborhood, Mohammadi Square, the bazaar, and Shah Abdul Azim Cemetery. With such a rotation in the northern, eastern, western, and even southwestern neighborhoods of Tehran during this period, such coordinates can not be achieved. These features are similar to the room that resembles a family mausoleum, a reminder of the Neighborhood, in which the true Jeddah guidance is buried there. Also, the home and the reliance on Reza Khan Khan (the son of Sadeq Hedayat) has also been located in Chalmayal Square

Abdul-Qader Bidel Dehlavi is one of the celebrated Hindi style poets whose different mode of poetry has placed him in the arena of various judgments. There is hardly anyone who has not mentioned the complexity and knottiness of Bidel’s speech when judging his poetry. On the other hand, among those who have become reconciled and familiar with Bidel’s poetry, there is hardly anyone who has not emphasized on the marvelous charm of his poetry. To enter the lofty and labyrinthine construction of Bidel’s poetry, some keys are needed, most of which are accessible in Bidel’s Divan. One of the evident features of Bidel is his creativity. Bidel’s ability to make new connections among phenomena and his constant departure from common literary norms disrupt the reception of an important part of his poetry. In this study, one of the compounds of Bridel’s poetry (Muye Chini: China crack) that has complicated some of his verses has been analyzed and reviewed. With a comprehensive contemplation on the concept of ‘Muye Chini’ in Bidel’s Divan of odes and its connection with other elements, eleven basic relationships have been recognized in this study. Through expressing and explaining these eleven relationships including sound and kohl (seda va sorme), night (shab), shadow (saye), youth (javani), scraping (tarashidan), break of the heart (shekast-e- del), Faqfur, comb (shane), poverty and wealth (ajz va tavangari), and flag (parcham va alam) some of Bidel’s verses have been untied.

To be reflected The Attachment of sadegh hedayat to delay in the mankind’s history and culture in the many of his effects and maxims. Hedayat has tendency to division of chronological and periods of history in the his effects, minimum to the two reasons. The first to reason his Attachment to the history and second, to mind terms of chronological which in that to be current history Romans Don’t in this article, history indications in an effect, rather become to recover for the first time, indications of one extended way of periods of mankind’s history in the sixteen sadegh hedayat’s effects. in the base, Afsane – ye – afarinesh, pedaran – e – adam, namak _ e – torki, tarikkhaneh, boof – e – koor, afarinegan, atash parast, takht – e – abounasr, parvin dokhtar – e – sasan, akharin labkhand, maziar, sayh moghol, topmorvari, haji agha, farad, singelele, to organize this periods.

The focalizations with their validity facilities and limitations are considered as the most significant elements in creating suspense and surprise. In this article, with an approach based on the face and content traditions in the analysis of validity discourse, we seek to examine and find the validity facilities and limitations of types of focalization in creating suspense and surprise and stating the aesthetical reason of using one dominant focalization in the novel Bamdad-e Khomar.

Among the various types of oral literature and due to their richness, tales and myths have the ability to examine the origin and effects of anthropology, sociology, psychology, etc. Some sociologists believe that their knowledge of the institution of the family in Iran's past is negligible. Therefore, history, especially folktales, can illuminate parts of social life that are far from the eyes of sociologists. The question of power is one of the subjects of interest in sociological studies in family institution. Understanding the distribution of power within the family in past periods represents a lot of social change. In this article and in order to examine the power structure within folklore tales; the structure of power, its methods of action and the type of resistance in front of power, as well as the sources of power production in family relationships, were examined in 93 kinds of folk narrative using content analysis approach. The results showed that the power structure in family is highly dominant and is represented in terms of paternity in relation to the child. In relations between men and women, in addition to domination, there is an intimate and legitimate relationship that women accept based on traditional ideologies, the power of men even in intimate relationships. The methods for exercising more power are forced, but the type of resistance, especially girls 'resistance to domination, and boys' active resistance to the father for passive reasons are evident. Gender-related beliefs, socio-economic resources and tips, such as the child's tone and hints, are among the sources of energy production in the family.

"The Story of “Shahre Sangestan’’ is one of the most famous poems of Mehdi Akhavan Sales. The story turns around the narration of a city where all its inhabitants have changed into stone and are looking for a way to save them. Among the characters in this poem are two pigeons who know the story of Shahriyar and give him a way to free himself. In this research, by content analysis method, the origin of the "loss of consciousness of the bird" in Persian and folk tales (370 folk tales and one hundred love collection) was studied. Taking into consideration these cases, the authors have tried to divide this content into three categories: 1. the revealed history of the hero according to bird, 2. Recognizing the magic properties of the tree according to bird; 3. Girl’s transformation to tree whose first structure is closer to Akhavan's poetry. There are examples similar to Akhavan's narrative, especially in popular narratives that can provide a clear background for the reconstruction of Akhavan's poetry in the story of the "Sangestan tale". Although two examples of this content have been reconstructed in Persian antique and official literature; but the occult’s function of bird in "Sangestan tale" is more similar to folk tales than other functions and its frequency is higher in folk tales. Given the fact that Akhavan shows his interest to folk literature, his borrowing in the article entitled “Shahre Sangestan ", which is the basis of this article, is more acceptable.

One of the important measutres in exploring the evolution of literary criticism in Iran is the review of critical works with the aim of identifying their stregths and weaknesses along with quality evaluation. Given the need for such an attitude in the realm of literary research, the authors resolved to evaluate the critical approach assumed by Mohammad Hoghoogi, one of the most renowned pioneers of New criticism in Iran. Hence, his critical works have been studied using content analysis and descriptive-analytical approaches and their characteristics have been explained. According to the finding, Hoghooghi is mostly concentrated on formal features and morphology of literary work and his critiques are majorly structured on three principles, namely language and diction, settings and idea, and form and structure which are commonly referred to as Hoghooghis critique traingle. Such formalistic propensity along with his interest to structure have led some of his interpretations to become roughly superficial or enthusiastic, and though approximating modern and scientific criticism, his critiques go to ex tremes in some cases and fail to demonstrate the true value of literary work.

 In terms of the architecture of words and aesthetics of language use, Hafez Shirazi is the best orator and craftsman in Persian language. One of the most prominent features of the use of language in Hafez’s poetry is the density of various meanings in as few words as possible. This is mostly achieved by means of his frequent use of ambiguity in poetry. While previous studies have examined artistic techniques, aesthetic devices, and poetic ambiguity in Hafez, the issue of ambiguity produced through the use of statements with two opposing meanings remains to be further investigated. In Persian rhetoric, this is known as muhtamel alzeidin. This essays does not examine ambiguity in words with multiple meanings; rather, it is concerned with the representation of statements which contain two opposing meanings. The reason why this device is used in Hafez’s poetry can be put down to the fact of a repressive society. However, some of the examples discussed in this essay show that while such poetic device may have been used for social criticism, it has gradually came to constitute one aspect of Hafez’s own language and mind. Even though Hafez constantly criticizes hypocrisy and pretense, he himself becomes a hypocrite under the pressures of society.   The method used in this study is descriptive and based on content analysis. Accordingly, certain lines in Divan-e Hafez which represent the use of statements with two opposing meanings are selected. Then, in light of their theme they are categorized into two groups: social and romantic themes. Finally, analyzing the stylistic techniques of such statements, the roots, reasons, and effects of Hafez’s views are studied.  Hypocrisy is one of most unpleasant moral vices. In a society fraught with pretense and hypocrisy, the first moral virtue that is damaged is trust. This destructive vice, when it becomes so pervasive in a society, manifests itself in various forms to remain unnoticed. In repressive societies, when the power apparatus is more oppressive, people adopt more complicated ways of hypocrisy and pretense. Hypocrisy has always existed in human life. As soon as social life began on earth, people had to hide those aspects of their behavior which could have hurt their coexistence with others. This helped them become like others. Rooted in social and political causes, the 14th century when Hafez lived was a society driven by hypocrisy and insincerity. This is why Hafez decided in his poems to criticize this vilest of moral deficiencies. As a committed poet, he was never indifferent to what went on his own society. However, in his own poems one could see examples of Hafez’s own hypocrisy. Some of these are so poetically ambiguous that their affective dimension overrides the social critical dimension. Hence, the question is if the use of statements with two opposing meanings is only a poetic device or a tool for social criticism.  To conclude the issues discussed in this essay we should note the following points about Hafez and his poetry: first, masterful poetic ability; second, committed spirituality and social engagement; third, historical context; and fourth, hypocrisy and its function. On the one hand, Hafez is the poet par excellence in creating ambiguous and layered opposing statements among the Persian poets. On the other, he constantly criticizes insincerity, pretense, and hypocrisy.     Hafez’s poems should be primarily looked at as literary text. Thus his poems cannot be reduced to logical statements. However, a close reading of his poetic structures may help us gain sociological perspectives on the era he lived in. Poetry is a tool used by poets. In a time when pretense and hypocrisy have pervaded all aspects of a society, Hafez uses poetry to level a social critique against such a condition. However, the pervasiveness of pretense and hypocrisy makes everyone a hypocrite. While he is always at the forefront of criticizing pretense and hypocrisy, he sometimes yields to these vices himself. In one of his poems, he says, “Be honest and see the sun comes out of thy breath / At the outset, the liar was disgraced.” Elsewhere, he says, “Not from exceeding religiousness, is my inducing of the robe / Over the head of a hundred secret sins, a veil the robe I place.” He also openly says, “Hafez! hypocrisy and dissimulation give not purity of heart: / Choice of the path of profligacy and of love, I will make.” In such an oppressive society, not only does he practice hypocrisy himself, but also invites others to do so: “Conceal the cup in the sleeve of the tattered garment; / For, like the wine-flagon’s eye, time is blood-shedding.” Some of these differences are because of the poet’s own personal experiences while some other are due to the social context of the 14th century and especially the oppressive rulers of the time.      In the course of history, people have always used ambiguity as a tool for social protest. Equivocation and amphibology have emancipatory values in socially repressive regimes. However, ambiguity could gradually turn into one’s worldview and hence run through one’s mind and language. In Hafez’s poetry, there are examples of statements with two opposing meanings which can be read as signs of resistance against the tyranny of the era he live in. However, as the examples discussed in this essay show, the use of statements with two opposing meanings are not always meant for social criticism; rather, this device has become an aesthetic technique in Hafez’s mind and language in creating poetry because not only does he use the device in representing hypocrisy and religious pretense, but he also uses it in describing his beloved, where one expects genuine sincerity and trust.

The Night that Cricket Won’t Sing, written by Jamshid Khanian, is one of the most outstanding works in the field of teen novel that has attracted the attention of many critics and readers. Since language is the author's main tool for creating literary texts, in this research, language of the novel is studied at three lexical, syntactic, and rhetorical levels to identify its fundamental characteristics. Among the most important linguistic features of this novel are: high frequency of verbs implying movement, sudden transformation of the structure of past verbs, dominance of the tense features of standard language on its spoken form, high frequency of short sentences, changing of sentence clauses, repetition of some sentences, melodious language, contrast (the most prominent figure of the work), description, imagery (the most numerous and most revealing figure), symbolization and adaptation. Focusing on these features and their details show that many of them have positive effects on the overall structure of the novel and have influenced the development of various elements of the story (subject, theme, personality, space, etc.). These features imply the author's attention to the importance of language in improving the quality of the work in order to transfer ideas better. and can be one of the factors of various critics’ attraction to the repetitious story of war and the selection of this novel in several festivals.

Alexander the Macedonian is a person who played a great role in Persian history and literature. He is also called a gojastack and destroyer, and also called the ideal king and prophet. In folk literature, Alexander is also a champion and a king of adventure and a prophet with the aim of promoting divine religion. One of the folk texts, partly devoted to the life of Alexander, is the Tarsusi’s Darab-Nameh. An interesting point is that Alexander has a significant difference in the Tarsusi’s Darab-Nameh, with Alexander, other Iskandar-nameh of Persian literature, such as Shahnameh, Nizami’s Iskandar-nameh, and the Pseudo-callistenes. That's mean Alexander is not a powerful king of Persian literature. Tarsusi has removed sanctity and powers from this legendary king with various techniques. The purpose of this study is to detect these techniques. In this essay, the recognition of the Characterization of Alexander in the Tarsusi’s Darab-Nameh, has been considered in order to identify the differences in the Tarsusi’s Characterization and to identify the methods of Eliminating Authority from Alexander. The results show that Trasusi has brought many adventures and incidents in his story to gradually and on the basis of Acceptable plot, the authority will be removed from Alexander. He also displayed Alexander weakly And the characters in front of Alexander Like Pourandokht, have shown strong.

Characteristic in the Blind Owl to establishes different interpretations. The ethereal atmosphere woman is one of the mysterious personalities this story witch was to expressed opinions about that. This article wants to know which this woman is an imaginary personality or an actual personality. Our studies to shows which ethereal atmosphere women similar to princess of ale Bouie which obtained from Ray’s place where the drums are beaten at fixed intervals. Also come back of ancient spirits to the living world in the Sadeq Hedayats effects is one reason another for to confirm of this subject.

Rereading the history of literary studies to evaluate quality and identify the strengths and weaknesses is one of the Important scientific measures; however, the abundance and distribution of scientific research in a specific subject, makes it difficult for researchers to identify and analyze the previous issues occasionally. As a result of those difficulties, repetitive and similar articles would be written which reduce the development and activeness of scientific fields. Researchers in each fields, can prevent similar and ordinary researches by identifying and critically examining the previous researches based on a coherent and methodical plan; moreover, by understanding the needs and gaps in those areas, they are able to do efficient researches as well. Due to the necessity of such an attitude in the field of Persian literature research, the authors of this paper have decided to introduce and review all scientific articles which are in connection with character and characterization issues. Therefore, by referring to databases storing articles, the number of Persian scientific research articles that had studied the character and characterization in contemporary fiction that contained these two words whether in topic or keywords were found. Afterwards, 73 articles have been found in terms of methodology, objectives and question the number and type of studied samples, used theories, results, references, etc. some data reviewed and analyzed statistically. According to the results, incomplete and ambiguous abstracts, some unfamiliar researchers with the correct structure, essay writing and research methods, uncoordinated research components and some repetitive issues and approaches and resources, are some of those studied articles problem. Paying attention to the new subjects and theories, cooperating with graduates in various majors, choosing the efficient theories and using the other research methods by researchers can help improving the research results and developing this issues as well.

The place is one of the story’s important elements. Point to some times of places in the parts of Hedayats “Boof-e- Koor”, but it appears that be able to paraphrase this effect, act secret that’s locality. And to cause some times to imagine mistaking that without time and place, whereas you may to see in this effect Ray and Tehran’s historical geography. This is including ancient period, Middle Ages and safavi as qagar. In this article to recover this places with help primitive map so we can to show the places in three details: origin, destination and cemetery route and out of city castle. This article is continuation to article: “Rereading Hedayats Boof – e Koor based on the socio – cultural and historical geography of Ray” for to open this cryptic effect. Rereading Hedayats Boof – e Koor based on the socio – cultural and historical geography of Ray” for to open this cryptic effect.

This article is a comparative sociological study and it shows some effects of changes in social relations which is the result of modernity in iranian and arabic communities.
This study inspects the Iranian and Arabic community and its deals with the female symbols as the one of social development indicators. Based on this, the use of female symbols and myths was assessed and compared in Abdol Vahab Albayati & Ahmad Shamlu’s poems.
This study ultimately concludes that female symbol’s log in to poetry, not as a beginning of a course but it’s the result of a circulation which tries to change social relations and create a new balance between two powers in society. Addressing female symbols, in addition to give poet the possibility of addressing the mythical topics; is an attempt to empower the hidden half of the population that was held back for years. And this is not a feminist effort, but it’s blowing lyrics the spirit of gentleness and describes the hidden part of the community that would appear in the light of modernity and this effort has many examples in both Persian and Arabic literature.