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The concept of linguistics is closely associated in contemporary literature with Reza Barahani and it comprises one of the most significant postmodern poetic movements. It emphasizes the importance of language over meaning and encapsulates poetry within the realm of language and linguistic forms. While this concept is linked to Barahani's name in terms of its foundations and poetic style, the principles and foundations of this theory can be traced in the postmodern poetry of other countries around the world. In Arabic poetry, the Lebanese modernist and surrealist poet Wadih Sa'adeh is a case worth investigating in this regard. The theoretical principles of the concept of linguistics were elucidated by Barahani, and the collection of poems "Khatab be Parvaneh-ha" (To the Butterflies) was composed and published by the poet under this theory. This article, using a descriptive-analytical method, aims to conduct a comparative study of the poems of Reza Barahani and the contemporary Lebanese poet Wadih Sa'adeh, relying on this theory, namely Barahani's theory of linguistics, to accurately and systematically explore the similarities and potential for critical analysis of the poems of a Lebanese poet with the concept of linguistics. This article has endeavored to uncover and reveal the extent of the two poets' attention to language and its formal, figurative, and purely linguistic features. The basis of the analysis is the American school of

Post-structuralist thinking in literature caused the production of texts that lack an sequence of actions in narrative and intentional coherence. These writings, which are called non-text, are actually countertexts that popularize counterculture, and their purpose is to combat and change the conventional standards of syntax and rhetoric, the usual ways of thinking and traditions in culture. Dark countertext  , which was invented by one of the scholars of western philosophy named Dr. Mehdi Khabazi Kenari, was created as a result of the conflicts between his tradition and western philosophy, and he tries to solve it by reproducing the tradition. Therefore, the Dark countertext is an ontological and epistemological issue that shows how the poet looks at mankind and the world and how he lives in a philosophical perspective. Philosophically, blackness in Dark countertext means ontological and epistemological darkness and ambiguity, which is produced as a result of the subject's constant skepticism . It, also, indicates unrecognizability, constant transformation and endless traces from a linguistic point of view, it refers to the non-determinism of language and denies any origin and purpose for language. In this approach, language is living and dying and is in a constant struggle of conscious and unconscious. Language refers to itself to reveal its dysfunctional nature. Words in Dark countertext have independent and temporary territory. The temporary (in) coexistence of words indicates the impossibility of thinking about reality and its expression. Therefore, with Dark countertext, the world is not felt or understood, but merely written.

In the Archetypal critique of postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of the anti-hero has appeared in postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against the social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported.

The shadow archetype is one of the driving factors of unpleasant feelings in human beings. This archetype seen as a dominant pattern in the postmodern poetry. the present study describes this feature as a stylistic feature in the postmodern poetry that this feature creates a dark atmosphere and expresses unpleasant and disgusting feelings along with social and political anomalies by the poets in the contemporary poetry. To prove this claim, ten collections of works by seven postmodern poets were studied and evaluated using a descriptive-analytical method. The result indicated that the heavy shadow of the archetype of shadow has unconsciously spread so much on the mind and soul of these poets that it has dimmed the positive aspects of other archetypes and thus reflects fears, failures, frustrations and external manifestations such as murder, betrayal, rape, protest, etc. in the works of such poets and has been able to turn poetry into dark and full of shocking and along with continuous death thoughts.

Persian classical poetry, especially lyric , in continuation of its evolution, after the constitutional revolution and after the intellectual domination of the Nimaei current, has witnessed various areas and currents, one of which is mainly under the banner of today's lyric  or new lyric  or neoclassical poetry. Be. In the 1970s, a fledgling movement based on the idea of ​​Western postmodernism created an atmosphere known as form poetry or avant-garde. Which in its nature had a kind of conflict with the known criteria of the literary tradition. Seyyed Mehdi Mousavi, the leading poet of this movement, became the flagship of this style with the publication of the book "fereshtaha kodkosh kardand". This article seeks to analyze the discourse of this idea and the linguistic and content characteristics and approaches of Mousavi's poems.The method of the present research is qualitative and descriptive. In this research, the mentioned poems have been examined and the findings of the research show: The idea of ​​postmodernism, which showed itself in literature, was initially faced by the poems of the poets Nosora and SepidgooBut with effort Mousavi and the choice of rhythmic and maqfi poetry has been able to open its way.The next finding shows that linguistic, syntactic, moral and attention to language deconstructions are evident in Mousavi's poetry.

Archetypal critique is the science of examining the signs and symbols of the inner layers of art creators. Carl Gustav Jung's theory of archetypes is based on the fact that the personality of each individual is composed of several inner layers that are related to the collective subconscious. Among the most prominent of these archetypes are anime and shadows. The present research aims to study postmodern poems based on the two archetypes of shadow and anima to identify the place of these two inner layers in the poems of poet and the symbols related to these two archetypes. The obtained results indicated that the poet, despite emphasizing the principles of postmodernism, is placed again within the framework of the collective subconscious mind and is forced to follow the marked structures of archetypes. In the meantime, the shadow archetype has a stronger power in the poet’s personality. He has paid more attention to the entanglement of shadows and darkness and also the feature of silence and assistance of anima more than other features. It was also found that Mousavi added the symbols of window, executioner, circle, Dracula, sky and butcher to the usual symbols of shadows and for the anima, he used the common signs of lover, morning, mother, wife, sea, cloud and light.

One of the key elements of Persian poetry, from the beginning to the blank verse period, has been the 'meaning' element. Persian poets, over hundreds of centuries, from Dary Persian language in the reign of Taherians to the modern Persian era, beside the construction of poems, have always considered the content of their poems in a way that a change in meaning would only be limited to the enunciation and the expressing language.
With modern poetry in Persian prose in the thirties ‘meaning’ perception becomes vague, and takes the poetry to the point of meaninglessness. This new version of 'meaning' of postmodern poetry composition requires a new interpretation, and with the outstanding of this prose form, a new theory as "lack of self –referent" poetry appears to exist as the external elements in which, instead of paying attention to the meaning of prose to convey the message, the implementation of poem becomes important and preferable.
This theory attempts just extras in the poetry performance and leads single meaning to the multiplicity of meaning, which is only perceived and received by the reader , and the poet has the lowest share in that.Therefore, each time, the reader, by reading the poem, can achieve to and get a new and a different understanding –a feature which is known as "the death of the author/ poet " and which is ofcourse borrowed from the European postmodern poetry.

Reza Baraheni’s “Daf” – the first in his collection of poems, Addressing Butterflies</em> – represents a part of recent challenges in Persian modern poetry, and this research is to identify and analyze the post-modern elements of it. Due to the great variety of themes and definitions of post-modernism, the writers have tried to analyze and interpret Baraheni’s poem based on the poetics of one of the trends in American post-modern poetry, i.e. L=A=N=G=U=A=G=E Poem, and theories of Charles Bernstein in order to have applied a more objective method. The study reveals that “Daf” is the textual performance of going beyond the history of Persian poetry to make it free from any limitations. The poet intends to reflect the meaning – or rather the sense of meaning – through producing the sound of daf, and although a number of its lines seem to be far from conveying any meaning, they are not as equal as being nonsense; rather they separate themselves from an exact and accepted meaning. On the other hand, “Daf” is not a narrative poem, for every single line of it opens a new horizon for the readers, making it difficult to guess what would be the next line and where it will end. Altogether, this paper admits and approves some post-modern elements in “Daf”, despite the fact that it can’t be emphatically considered as a post-modern piece of poetry, and classifying it under the category of post-modern poetry is in doubt and contrary to the intellectual exercises and leftist ideas of its composer.

If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Seprhti. The postmodernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Postmodernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences. as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.