سیاست

Kurdish love poetry has experienced diverse poetic imagery in accordance with social conditions. The blending of literature and politics, which began during the Constitutional Revolution, in addition to giving rise to Iranian political poetry, led to the creation of novel imagery in Kurdish love poetry during the second Pahlavi era by some Kurdish poets, unprecedented in the history of Iranian literature. These new images manifested in similes where the beloved is positioned as the subject (mushabbah) on one side, and political concepts are positioned as the object (mushabbah bih) on the other. The aim of this research is to answer the question of why such similes formed and how they are used in Kurdish poetry. The research method is descriptive-analytical. The statistical population consists of the poetry collections of Abdolrahman Sharafkandi (1921-1990), pen-named Hazhâr; Mullah Ghafour Dabbaghi (1927-1990), pen-named Hafez Mahabadi; and Mohammad Amin Sheikh al-Islami Mokri (1921-1986), pen-named Hemen. The data were collected through library research and document analysis and analyzed using content analysis techniques. The results of the research indicate that the frequency of this type of simile is higher in the two Kurdish poets, Hazhâr and Hafez Mahabadi. Furthermore, the composers of this type of ghazal, by using this literary device and creating such original images, and by capitalizing on the youth's inclination towards romantic poems, have been able to fulfill their mission of raising awareness and exposing the crimes of the Pahlavi regime. Moreover, with this norm-breaking, they have been able to help renew similes in Kurdish poetry and avoid using stereotypical images.

There is no consensus regarding the nature of "Karname-e-Ardeshir-e-Babakan" (also known as "Karnameh Artakhshir Papakan", as it is considered to be an epic, a legend, a novel, and a historical account. The aim of the current research is to understand the nature of this work from a political perspective. Our main question is: What is the status and nature of the "Karnameh" from a political standpoint? To address this issue, we have applied Hannah Arendt's storytelling method to gain a deeper understanding of the text. Our investigation reveals that the "Karnameh" encompasses elements of storytelling as articulated in Arendt's philosophy, particularly her views on "Action" and "The Political. it can be classified as a distinctly political work. The "Karnameh" serves as a significant effort to articulate the history, epic narratives, legends, political thought, and other facets of Iranian culture and civilization as a unique phenomenon, embodying an identity expressed through an engaging language and format that evokes the essence of national identity. It is a work that, through the lens of Arendt's insights, captures the voice of ancient Iranian courtiers. The "Karnameh" represents the written form of Gosan's narrative, reflecting the beliefs and history of the Iranian people.

This article examines Zoha Kazemi’s novel Humanoid through the lens of memory studies and pursues two goals: first, to delve into the effects of advanced technologies on the dystopian society depicted in the novel, particularly their effects on characters’ memories and the transformation of their human identity; second, to examine the interplay between narrative, memory, and its functions, as well as their role in shaping political action and social reform. This research is necessary as Humanoid came into being in an era of rapid technological change whereby the impact of these developments on mind, memory, individual and collective identity, and culture is inevitable. Thus, the investigation of these concerns in the crucible of literature is a timely response. This study adopts theories from the field of memory studies and provides a close reading of parts of the novel whenever required. This study explores key issues, including declarative and procedural memory, the relationship between memory, technology, and identity formation, as well as the intersection of memory, politics, and narrative within the novel. The results show that modern technologies in the field of biology in the dystopian society of Humanoid are tools to control and shape the human identity, steering it toward a post-human state. Conversely, narrative emerges as a tool for preserving human identity whereby it leads to political action, and moves the society towards awareness, resistance and change

The current study is aimed at investigating the characteristics and components of political literature, precisely about the political novel from the perspective of Iranian writers. To be concise, achieving specific definitions and characteristics of the political novel or literature will assist researchers in this respect. In the research in question, various perspectives of Iranian critics and writers have been addressed in their works regarding the definitions and characteristics of the political novels or their related literature. Followed by that, their commonalities and differences have been identified through integrating inductive content analysis. As the results of the provided analysis provided, the characteristics of political literature or novels can be counted as; attention to issues of power and sovereignty, sensitivity and reaction to political events, attention to political issues (e.g., identity, civil rights, freedom, homeland, law, and political equality), opposition to tyranny of the rulers, criticizing the society's dominant ideologies and discourses, criticizing the status quo and the ruling power, as well as being eager to change it. Furthermore, focusing on anti-colonial struggles, condemnation of foreign interference, and the necessity for political independence, being ideological and influenced by specific political ideas and ideologies, denying some values and endorsing others, explaining clearly or criticizing political views and ideas, developing one "otherness" or the element of "other" , government or tradition; dealing with the lives of individuals and political figures, confirmation or providing support for political parties and the disagreements over them, discussing the political themes in terms of explicitness which can be overt or symbolic, and political literature or novels in terms of tone and style of expression can be counted as a number of other factors in this respect.

The current study is aimed at investigating the characteristics and components of political literature, precisely about the political novel from the perspective of Iranian writers. To be concise, achieving specific definitions and characteristics of the political novel or literature will assist researchers in this respect. In the research in question, various perspectives of Iranian critics and writers have been addressed in their works regarding the definitions and characteristics of the political novels or their related literature. Followed by that, their commonalities and differences have been identified through integrating inductive content analysis. As the results of the provided analysis provided, the characteristics of political literature or novels can be counted as; attention to issues of power and sovereignty, sensitivity and reaction to political events, attention to political issues (e.g., identity, civil rights, freedom, homeland, law, and political equality), opposition to tyranny of the rulers, criticizing the society's dominant ideologies and discourses, criticizing the status quo and the ruling power, as well as being eager to change it. Furthermore, focusing on anti-colonial struggles, condemnation of foreign interference, and the necessity for political independence, being ideological and influenced by specific political ideas and ideologies, denying some values and endorsing others, explaining clearly or criticizing political views and ideas, developing one "otherness" or the element of "other" , government or tradition; dealing with the lives of individuals and political figures, confirmation or providing support for political parties and the disagreements over them, discussing the political themes in terms of explicitness which can be overt or symbolic, and political literature or novels in terms of tone and style of expression can be counted as a number of other factors in this respect.

Folk literature, including oral stories and folk poetry, are open narratives that each narrator uses according to his or her own intent. This genre, however, for reasons such as its humiliating title, the simplicity of the images, the use of the language of the masses, and elitism Persian literature, has not received much attention. In the constitutional period, however, with the change of the paradigm, of course, it was considered for political purposes and appeared as a rival discourse against the thousand-year-old discourse of classical literature. Folk literature was a constantly neglected "other" voice that found an unexpected opportunity to be heard in the new discourse. One of the poets who used this capacity to advance his political and ideological goals is Ahmad Shamloo. After Nima and perhaps more than him, Shamloo is the most prominent poet who has brought the realm of poetry into the public area in various ways; without neglecting the noble aspect of poetry. This approach is of course the result of his theory of literature, which considers it a social duty and commitment to justice and awakening the masses of people and raising children against oppression and injustice; therefore, by using the special codes of the mass people and children's legends, whether in the form of folklore poetry based on folk tales and legends or slang words and even compiling an Ketab e Koocheh, he has attempted to consolidate this ideology. This study, with the approach of cultural studies, reflects on the two contradictory sides of his metaphorical use of language and folk poetry: 1. Deconstructing the elitist approach to literature through defamiliarization with folk poetry, 2. Shamloo's use of children's language and discourse in folk poetry, which implies the sameness of the mass and the child and the need to be guided and led by a saviour.

In this research, it has been tried with an aesthetic approach to investigate the social mysticism of the spiritual masnavi of Molavi, Ba A new look and using a descriptive analytical method. Social mysticism is a mysticism from the beginning to The end has specific social strains and in the final stage of the procession, that is, in the fourth journey of the four journeys, which It is a social and mystical nature, the mission of guidance, education and social management in different dimensions It assumes existential and objective requirements. Therefore, in this research, Molavi's views on political approaches and social has been analyzed on an aesthetic basis. Besides being a source of rich insights, the spiritual masnavi and mystical and political thoughts with poetic language and presenting informative stories, social and political thoughts It conveys beautifully to the audience. Molavi by maintaining his position and using aesthetic components in The field of language and expression, images and symbols, form and structure, allegory, themes and music of the word, as a social reformer. The institution addresses the political governance of the society and in order to better promote the affairs of society and the mass of people. Encourages and warns. In fact, Maulvi tries to introduce principles and issues in his teaching system, with artistic action spread Islamic mysticism in the social lifestyle rather than a monotheistic tendency on society and governance, in the direction of reform Affairs, towards moral and spiritual life, and establishment of social justice through planning and organizing it.

The concept of Iran consists of multi - dimensions due to the different statesmanship rules and ancient sovereignty in Shahnameh. So this study aims at indicating the relationship between the function of concept of Iran and its name pluralism both pre- and post- Islam in Shahnameh. It is possible to reveal the total structure of all ancient governments and their statesmanship rules based on Shahnameh documentaries and poems. Ferdosi narrates anecdotes which refer to general structure of pre-islamic monarchy and their sovereignty acceptance criterion in 50 narration in the shape of story. The most significant affairs usually come in the beginning of each narration or story and among the numerous stories which are important from the political point of view. Ferdosi telles both the story and evaluates the parts that make clear the structure of pre- islamic Iranian and even non- Iranian sovereignty in one side, and their norms in other side by his own perspective. Ferdosi assesses 50 kingdom periods and appraises their actions and speeches from minor to major. Consequently, it can be inferred the kinds of structure of ancient governments and their formality acceptance through Shahnameh texts and narrations. Meanwhile, it is also possible to awaken Ferdosi’s perspective in Shahnameh. There are other samples which show the distinction sides of king’s fair and unfair by comparision.

A new chapter of literary movements in Germany has started due to the development of pop literature. Pop literature is the outcome of the rebellious feelings of a younger generation towards the prior social and political values. Christian Kracht is one of the contemporary writers in the German literature scene who was from early on considered as one of the main figures of German’s pop literature due to his unconventional style in describing the concerns of newer generations in his first novel Faserland. However, the main reason that makes Faserland one of the highlights of the contemporary German pop literature world is its psychological aspects demonstrated in the escapisms of its protagonist. This study tries not only to demonstrate pop literature’s vast potentials in manifesting deeper psychological concerns of a society, but also how it is possible to read Faserland’s protagonist as an example of an adolescent, living in mid-90s Germany, who isn’t able to cope with the history and society of the country he’s living in.

In tyrannical societies and authoritarian governments, opacity is the best way to express social pains and is a channel for protesting and of course, it is prudent; This means that the inappropriate social conditions and the suffocating atmosphere of the lands lead the artist to conceal and express his beliefs in the envelope of opacity’s literary array: An indirect and effective statement that raises the awareness of the audience, and in a way, it can be considered as a way of the writer's or poet's pen struggle against the rulers and the deceptive and hypocritical people. In the 7th and 8th centuries of AH - which is one of the darkest periods in Iran's history - our land was attacked by the Mongols and their rule. The tyranny of the rulers during these two centuries resulted in heavy social suffocation; as it has been very influential on Persian poetry and especially the form of Sonnet and has caused the introversion of Iraqi style poets. In the current study - which examines the literary industry of opacity and its relationship with critical issues in Hafez's sonnets - data has been collected through document analysis and described in a qualitative manner. The result of this research shows that the use of idioms in order to criticize the actions of oppressive kings and hypocritical Sufis and ascetics in the court of Khajeh is a characteristic of the poet's style, and among the types of opacities, the frequency of opacities of proportion and singular opacities are more than other types.

The formation of each school follows a political or social and cultural movement, and the art and literature of each period is the product of its own living world. Modernism emerged as a literary school in American and European countries from the early years of the twentieth century, at the same time as the influence and spread of symbolic poetry, and gradually spread to other countries. In this research, with a look at comparative literature, in a descriptive-analytical method, "common political, social and individual ideas" as components of modernism in the poems of Ahmad Shamloo and Nazkolamaleke are examined. The results show that freedom, dealing with political, social issues and individual love are evident as components of modernism in these two poets. Political thought is known as the main theme of Shamloo poetry, but he is an influential poet, not an effective one! From a social point of view, human freedom and liberation from tyranny is widely reflected in Shamloo's poems. Nazak al-Malaika also rejects the subject of war in his poems and opens his mouth in glory and complains about the state of society in a social form, and addresses not only the Iraqi people but the people of all Islamic lands to get rid of the sufferings and pains of life

As we know, the oral literature of each nation is the best expressive of the beliefs and minds of a nation and its ruling policies, and the history of any nation can be sought through reflection on the culture of that nation, including their songs. The songs and ballads that sometimes have been united by a state or a policy, or in accordance with certain political conditions, are born, such as the poems and songs of the mashrote period, which are in this period of thematic and thematic unity, and themes such as invitations to The struggle, the depiction of the curiosity of the kings, the expression of the crimes of the domestic and foreign tyrants and their treason to the Iranian nation, the praise of freedom and its martyrs, and the induction of hope for the future, the invitation to fight by helping with elements such as raising the level of people's awareness and commemorating the martyrs Way of freedom Hence, various manifestations of ritualistic, national and humanistic literacy were formed. In order to flourish these components, the mashrote age has contributed a lot, because it initiated new developments in the political and social arena, and consequently, changes in the field of culture and literature of the country such as democracy. In this essay, we try to investigate the poems of the mashrote era, the coordination of the poets as well as the thematic unity of the poems. This research has been done by descriptive-analytical (library) method.

The significance of media ideology and political orientation in the redistribution of news has garnered more attention from researchers than ever before in the era of digital communication, owing to the widespread coverage of international events in the shortest feasible period. Today's media is attempting to instill their ideologies in their audiences through various strategies and directional news coverage. The present study investigates the role of ideology and political positions in some French and English media regarding the 25-year Iran-China cooperation agreement. The texts were selected from a French-language newspaper and weekly, as well as an English-language newspaper and a news site, representing both right-wing and left-wing ideologies. The analysis of news texts published in selected media has been done according to the theory of critical discourse analysis and relying on the principles of Modality, Lexicalization, intertextuality, Presupposition, and manipulation. The research findings indicate that media ideology has a direct impact on the production and redistribution of news that differs from, and sometimes contradicts, the source news text. And he will show us yet again that the orientation of the media is an important factor in the coverage of news especially those which become controversial all over the world