جستجوی مقالات مرتبط با کلیدواژه « محتوا » در نشریات گروه « ادبیات و زبان ها »

Travelogues are valuable artifacts that provide firsthand accounts of historical, social, cultural, religious, and literary events. They offer a comprehensive perspective for examination from multiple angles. In ancient Persian literature, travel writing has a rich historical tradition. Approximately a millennium has elapsed since the composition of Nasser Khosrow's travelogue. Subsequently, several travelogues have been authored, serving as compelling evidence of the authors' meticulousness and the audience's profound fascination with this genre of literature. During the Qajar dynasty, travelogue writing played a significant role. Travelogue writing has never been as popular as it is in today's age. Each author in these travelogues examined travel concerns and events from a distinct perspective, focusing on particular aspects. During the Qajar era, the proliferation of this genre of literature led several intellectuals to use travelogues as a means of disseminating information and documenting historical occurrences. The present research has focused on extracting and analyzing prevalent topics and themes in travelogues from this era. To achieve this, we have carefully chosen a selection of significant and comprehensive travelogues from this time period. After a thorough examination of their content, we identified the shared characteristics and themes present in these travelogues. Surveys indicate that these subjects are prevalent in the majority of trip narratives: 1. Worship and adoration of God 2. Explanation 3. Evaluation 4. Inconsistency 5. Providing insufficient information 6. Describing the present circumstances and articulating spiritual states 7. Remorse for one's native land.

 Gul Mohammad Khan Zeib Magasi is one of the powerful Baloch poets who wrote beautiful poems in Persian language. In this research, the style of his poems has been examined in terms of language, literature, music and thought.

 Ethods: The present research was carried out using a descriptive-analytical method based on library sources, and its statistical population includes two books, Zeib Namah and Kharineh al-Ashaargol, Mohammad Khan Zeib Magasi.

 His poetry is simple in terms of language and in terms of vocabulary, 56% of the words in his poems are in Persian language, and the special dialect of Balochi can be seen in the use of some words. Some of his poems have epic language as well as mystic and Qalandari words. From a musical point of view, the poet has often experimented and invented new tunes, so there is a wide variety of prosody weights in his poetry. In terms of side music, about 37% of his sonnets have lines and he often uses repeated lines. The abundance of expressive arrays of similes and metaphors from a literary point of view is so great that 65% of his similes are sensory, and comparing the types of similes, we see the highest frequency of that simile and the lowest frequency of complete simile. Also, the metaphor of Makaniyyah has a higher frequency than that of Masraha. Innovative arrays such as hint, contrast, similitude, pun, phonetic arrangement and repetition are also frequent in his poetry. Comparing the types of repetition, the frequency of word repetition is about 55%, which is considered a high frequency. From the intellectual point of view, his poetry is mostly spiritual, mystical and romantic, and instructive components and social elements are also among the content elements of his poetry. In his overall view, he has many structural innovations, and intellectually, he is influenced by the mystical, Qalandari and romantic poetry of previous poets.

Gul Mohammad Khan Zeib Magasi"s poetry, while simple, is full of artistic uses of literary arts, and its innovative point is in the use of different weights and the invention of fresh bahor, all of which serve to express romantic, mystical and educational themes.

Textbooks are an important part of education in determining the successful axes of a lesson unit, for this reason, it causes the analysis of textbooks to identify the strengths and strengthen them and the weaknesses. The present research is based on library data and the descriptive analysis method that was carried out in the research and the analysis of the available data on Colin Marsh's checklist indicates that the book needs changes in terms of artistic and visual attractions and attention to the role of ethnic Iranian culture identities, however, it has been compatible with the approach of the national curriculum in terms of education, but it has performed poorly in paying attention to the educational needs and daily life of learners. The 8th Arabic book in securing the document of fundamental change and the national curriculum needs more review by the authors, and in the overall analytical view, Marsh's checklist has been included and observed in the textbook.

Masnavi Manavi written by Jalaleddin Mohammad Balkhi (Rumi) is one of the most prominent mystical works in Persian literature. This book has been and is influential; consequently, the readers' needs have been and are subject to many descriptions in different languages.

Assessing and analyzing the method and the content of descriptions of Masnavi are considered the most important study subjects in searching the works of Mowlavi Analyzing the affectivity of the available descriptions would demonstrate the significance and stance of such works in the field of writing description. The description of Mostafa Ibn Shaban Soruri on the subject here is considered one the most complete and the oldest in Asia Minor in Persian. Regarding the antiquity and the description language of Soruri, it is essential to specify the rate of its affectivity in the process of writing a description. The objective here is to find the extent of the oldest Persian descriptions of Masnavi by comparing Soruri's description with Javaherolasrar and Zavaherolanvar by Kharazmi.

The results of this comprehension indicate that the description of Soruri has been affected by Javaherolasrar in terms of structure and content. An important part of Kharazmi's description is included in Soruri's description without any reference, while Soruri, in his foreword claimed that he perceived this work by discovering the spirit of Mowlavi.Keywords: Soruri's Description, Kharazmi, Javaherolasrar and Zavaherolanvar, Method, ContentIntroductionThe remarkable interest of Masnavi readers in comprehending it and the necessity to clarify its complexities initiated literary works like description, glossary, modification, translation, etc. in different contexts. The high volume of explanations of Masnavi from the past to the present indicates the level of interest in this book, and the necessity of proving the deficiency and weakness of its explanations. One of the significant research issues in the field of Masnavi studies is to recognize and analyze the procedure of writing descriptions. The comparison of Masnavi's descriptions in terms of method and content reveals the span of their overlap; next to assessments of advances, and shortcomings.The description of Masnavi by Moslehoddin Mostafa Ebn Shaban Soruri (1561) is identified as the oldest Persian description including both the Masnavi books. The two core questions here are: 1) Are all of these descriptions Soruri’s brainchild or they refer to other descriptions? and 2) If Soruri has resorted to others, how effective was it? Answering these questions necessitates considering analyzing and comparing the description of Soruri with othersThe objective here is to scrutinize and explain the method and content of Soruri's description by comparing it with the Javaherolasrar description (the oldest Masnavi description).Method and MaterialsThe method adopted here is analytic and descriptive based on library data. The focus here is on presenting a pattern to assess the different aspects of the descriptions of Soruri and Javaherolasrar Kharazmi. In the first section, the similarities and differences are compared and explained to clarify the verses; in the second section, the opinion of each commentator is analyzed in terms of compliance with the views of Mowlavi based on the model of the mystical tradition and in the third section, by assessing the preface of each book of Soruri's description, the acquired evidence indicate the outperformance of this description vs. Javaherolasrar.

Comparing the method in Soruri's description and Kharazmi's description indicates that primarily, many of the phrases and deductions of Kharazmi exactly resemble that of Soruri's description. Similar proses and verses are detected in both descriptions and that Soruri has taken advantage of Kharazmi’s descriptions is evident. Soruri applied the language of Kharazmi (books one to three) which is intricate. In other sections (book four and on), descriptions are written in simple prose. Soruri has summarized and simply described the verses not mentioned in the descriptions of Javaherolasrar.The content of the description of Kharazmi and Soruri is compared based on the mystical pattern of Mowlavi. Kharazmi has sometimes pointed out the viewpoints of Ibn Arabi in describing Masnavi. In some other cases, Soruri has made a connection between the first and second mystical traditions. Unlike Kharazmi, Soruri has mainly considered the lexical and rhetorical layers. To describe the mystical concepts, defined the outlooks of the second tradition of Kharazmi and sometimes described the first tradition. The foreword indicates that the commentator has consciously benefited from Javaherolasrar.The results of this study indicate that Soruri was affected by Kharazmi's description. There exist doubts about the independence of Soruri's opinion in Masnavi's clarification, thus, it cannot be considered an effective explanation. Direct affectivity from Kharazmi's description and not pointing out his name raises this notion that the rest of the materials not derived from Javaherolasrar may belong to others except Soruri.

Letters are one of the tools of communication between human beings that have been used for a long time. Letters in Persian sources are worth studying and researching in different ways. The main purpose and issue of the present dissertation, which has been compiled based on library sources and descriptive-analytical method, is to study and compare the structure and theme of different types of letters in the two mentioned works; Letter of Inquiry; Peace letter; Oath; Treaty; Advice letter; Description of spelling. In the Tarikh of Bayhaqi, letters fall into the following categories: signature; Private; Moshafehe; Charter; Fat'hnameh; Oath; Agreement; Mutual notice; Position; Expansion; Molattafeh.on a structuralist base letter, in Tarikh of Bayhaqi rarely beguin in the name of God. Letters donot tend to be complex, however, ,they uoe synonyms, figureo of word, Arabic comoundsd. Also, the sentences are short and independent and interconnected in terms of meaning, and the words, verbs and relations are repeated in successive sentences, and this has brought the prose closer to the colloquial language in some cases.

The history of women’s style in the form and content of story writing, is as long as their writings. Fiction was, and still is, a suitable institution for the expression of effeminate emotions and thoughts. Some female artists, through the means of art, aimed for the truth, and some, artistically, took popular taste as the means to reflect reality. In this study, one of the bestseller popular novels, The Dalan-e Behesht by Nazi Safavi from the category of poplar novels, and Tooba Va Ma nay-e Shab written by Shahrnoush Parsipour, in genre of sublime novels, are selected. The reflection of the time’s culture and the narration of the atmosphere of imposed or self-imposed limitations in form and content, with regards to love and misogynistic themes, women’s behavior in the face of violence and helplessness and their impact on the heroine’s path of growth, are analyzed.

Khosrownameh or Gol -o Hermez is one of the famous poems attributed to Attar, which, unlike other fake poems attributed to him, due to its poetic order and coherence, some linguistic features, and the relative mastery of the poet, has been praised by some in a way that they consider the poem as Attar's, and put besides his four main and definite poems, "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". On the contrary, some others have rejected this attribution by stating evidence. This article deals with the stylistic study of Khosrownameh in terms of structure, language and content. The research results show that the attribution of this poem to Attar is incorrect; beecause there are major differences between Khosrownamaeh, and  Attar's  main works, both in terms of form and structure, also in terms of language usages in both lexical and syntactic levels, and in terms of content and theme. On the other hand, the rejection of its attribution to Attar is strengthened by the manuscript issues and extratextual study of this poem and the discovery of some historical facts.

Attar-e Neishabouri is one of the poets whose works have been underestimated throughout the history, to the point that a large number of inappropriate poems have been attributed to him and being placed in the ranks of his four main works "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". Among the works wrongly attributed to Attar, and the subject of discussion and research by many researchers of Persian literature, is Khosrownameh. The subject of this poem is the love story of two lovers named Khosro and Gol. The poem is written like some other romantic poems as Khosrow and Shirin of Nezami. This poem is written fluently, and in terms of style and poetic language, it has coherence, arrangement and the ability to induce the content to the reader, and by the way, this issue has caused some people to consider it as that of Attar without comprehensive investigation. In the present study, an attempt has been made to compare the Khosrownameh with Attar's main works both in terms of extratextual aspect (historical and manuscript issues) and from the stylistic aspect in the three fields of structure, language and content.

Theoretical framework :

In general, there are many differences of opinion regarding the attribution of Khosrownameh to Attar. Among the prominent scholars of Persian literature, Saeed Nafisi, without any doubts, recognizes Khosrownameh as Attar's, and believes this poem is one of the works of Attar's youth and middle life. Shafi'i Kadkani believes that the name of this poem is actually Gol and Hermez, that Hermez is another form of the Greek word "Hermes", and Khosrownameh is the original name of Attar's Elahinamah. According to others, such as Zarrinkoob, by composing a romantic poem such as Khosrownameh, despite the interpretability of some of its verses to mystical themes, at the end of Attar's life and after composing his four main poems, the poet's spiritual and mystical behavior cannot be justifiable. Other valid reasons have also been presented later by other researchers in rejecting the attribution of Khosrownameh to Attar,  including Ahmad Ezzatiporur in a research while criticizing the reasons of other researchers pointing to some extratextual evidence and clues, such as The names of some characters in it, and the belief that its author is a “Shia” have led to the conclusion that Khosrownameh is not from Attar. Among the other important researches that have been done regarding the attribution of Khosrownameh to Attar, is “the stylistic study of Khosrownameh to explain the correctness of its attribution to Attar e Neishaburi” by Teimur Malmir. In this research, it has been concluded that due to the frequency of commonalities between Khosrownameh and Attar's main works, its attribution to Attar is correct. In a research titled "Whose is Khosrownameh from?" from Akbar Nahvi, the conclusion is that this poem is undoubtedly not from Attar, and it was written in Isfahan near 600 AH, and its poet was Sheikh Attar Abu Abdullah Muhammad Mianaji (d. 619 AH). A number of other researchers have also presented their opinions regarding the correctness or incorrectness of the attribution of Khosrownameh to Attar e Neishabouri in various articles, but in none of these studies, the investigations have not been comprehensive, and have not led to correct conclusion.

In this research, an attempt has been made to investigate the attribution of Khosrownameh to Attar, both in terms of extratextual evidence, and in terms of intratextuality, i.e. stylistic issues using analytical-inferential methods.

In this research, the indisposition and correctness of the attribution of Khosrownameh to Attar has been investigated from two extratextual (historical and manuscript issues) and intratextual (stylistic) aspects. From extratextual analysis, it was concluded that the date of writing of the oldest manuscript of Khosrownameh is 696 AH, so it can be definitely said that this poem was written in the 7th century of hegira. Another important point that can be considered from a historical point of view in this poem is the praise of “Imam Hasan” and “Imam Hussain” (second and third “Imams” of Shia Muslims), and two Hanafi and Shafei imams by the poet, which shows that he was of the Shafei religion; and if he mentioned Imam Hanafi as well, it was because of observing the social and religious situation of Isfahan in the sixth century. Since in this era, most of the people of Isfahan were Shafi'i and Hanafi, and both clans were very strict in their beliefs and were constantly in conflict with each other. The comparison of Khosrownameh with Attar's four main works in terms of intratextual and stylistic issues indicates that, firstly, Khosrownameh was written with an almost coherent structure and with a slight difference from Attar's style in arranging the contents in his poems; With full knowledge of the ways of composing a long poem, the poet has divided and arranged the different contents of the work and has started his story. Secondly, due to the fact that Khosrownameh has the necessary eloquence and fluency to an acceptable extent, the lexical and syntactic level of the language in this poem is not much different from the lexical and syntactic level of Attar's poems, and only in a few cases we can carefully point out the differences. Thirdly, in terms of theme, this poem can be interpreted into mystical themes, so that from many of its verses, the influence of the poet from Thoughts of Ibn e Arabi, especially his most famous theory, "pantheism", is evident, while Attar puts "Oneness" in opposition to polytheism.

Conclusions & Suggestions:

Based on the examination and comparison of Khosrownamah with the main works of Attar from two very important extratextual and intratextual aspects, the conclusion was reached that firstly, according to the date of the oldest manuscript, this poem was written in the 7th century of hegira, and secondly, despite having eloquence and coherence, in terms of structure, syntax, vocabulary, content, and theme is different from Attar's main poems.

The Couplets is a semi-traditional form that was invented by modernists during the constitutional period with the aim of transforming the poetic form and was among the common forms until the Islamic Revolution. n this article, with the aim of analyzing the effect of Couplets in the transformation of classical poetry into new Nimaei poetry, the stylistics of Couplets of prominent poets of this form has been examined on three linguistic, literary and intellectual levels.

The collection of article information was done in a library manner and it was written with a descriptive and analytical approach. The analysis of the research has been written by reflecting on the collection of poems of poets who wrote Couplets and then turned to new Nimaei poetry or are among the poets of two streams. are cited among others. The poems of Nima Yoshij, Nader Naderpour, Fereydon Tavallali, Forough Farrokhzad and Fereydon Moshiri.

The Couplets form was started by the modernists as a reason for the transformation of traditionalism in the constitutional period. The analysis of Couplets after them shows that the fields of evolution of classical poetry that reached the theory of new poetry have also passed through this form. Most of the poets of new poetry, including Nima himself, have used this form at the beginning of a poem and by leaving it aside, they wrote new poetry. Abandoning classical rhyming, avoiding language problems and using difficult words, shortening sentences, paying attention to the audience and observing grammatical principles at the linguistic level, objective imagery, the use of modern elements in poetic images and images free of problems at the literary level, logical communication Language and content, realism in the content, matching the content with the issues of the society in the social and romantic theme at the intellectual level are the features of Couplets simplistic writing that has created the grounds for the transformation of classical poetry into new Nimaei poetry.

The Couplets form, which was started by the modernists during the constitutional period, is a form that has the features of simplification, the development of the simplicity of rhyme, language, images, the development of the lyrical and social content of the new Nimaei poetry.

Salman Herati is one of the prominent contemporary poets who, by using simple language and creating pure and fresh compositions, was able to express many of his social and political, ritual, religious and idealistic concerns in his poems. He has never sacrificed the content and theme of his poems to the surface and external layers of the poem (rhyme and weight...), but his poems are always in terms of literary creations, melody, simple and clear language, careful choice of words, beautiful descriptions, imagination. Strong, the harmony of image and emotion, artistic and story techniques, the use of historical and mythological elements, and having a deep meaning and concept, have been worthy of attention. In this article, which is written in an analytical-descriptive way, attention is paid to the most significant content and conceptual expressions from the perspective of intellectual aesthetics in Salman Herati's poems. The obtained results show that Salman is interested in concepts and approaches such as idealism and libertarianism, ritual and religious attitudes, martyrdom and martyrdom, patriotism, revolution, manifestations of resistance and stability, nature, resurrection and death, love. , justice and anti-colonialism and some social components such as philanthropy have paid special attention, and among these things, religious and ritual themes as well as politeness have shown more special attention.

Educational literature is one of the most important types of literature in the literature of different nations, especially in Iran. The master teacher of education and training in Persian literature is Saadi, whose value is not hidden from anyone; Therefore, this research aims to analyze the story of "Saadi's dispute with the moddai" based on the formal and content indicators of educational literature by using the library study method and in an analytical-descriptive way.The results of the studies show that features such as parables, high frequency of interrogative sentences, high frequency of imperative and prohibitive sentences, syntactic avoidance and shifting of sentence elements, dramatization of the topic, argumentation and interpretation of speech, words, combinations and interpretations of educational literature, simple and expressive image , the use of literary works of art in the direction of education, emphasis on the role of simile, simplicity and expressiveness of language and expression, audience and reader-centeredness, and being explicit are the most important formal characteristics and referring to Quranic verses, hadiths and traditions, predestination perspective, Rationalism and wisdom, monotonous approach (masculine approach), mention of moral teachings in the form of advice and admonition, being instructive and edifying, realism and avoiding fantasy are among the content features of Saadi's story. As a result of Anke's words, the story "Saadi's fight with the moddai" is one of the best educational stories in the field of educational literature

Each work has a special language according to its subject and structure. The language of some works is simple and easy to understand due to the emotion and imagination used in the work, and some require a lot of reflection and attention due to some words and terms. Arabic books for the second year of high school are one of the most important and accessible educational resources in the field of learning Arabic and, accordingly, familiarity with religious and Quranic concepts, hadiths, etc. for learners. The present research is based on the library and descriptive method in order to review the Arabic books of the second secondary school from the linguistic point of view. The analysis of the discussed Arabic books shows that the authors have chosen the subjects of the textbooks with special linguistic accuracy and elegance, and according to the students' academic level and their situation, they have categorized the texts based on linguistic dimensions.

One of the main ambiguities in Khayyam's research record is the attribution or non-attribution of quatrains to this Neyshabour philosopher. According to the opponents of attributing the quatrains to Khayyam, to equate their poet with Khayyam, a religious philosopher, is a community of contradictions and impossibilities. The result of such a belief is the claim of the existence of two Khayyams and the creation of a confrontation (rational philosopher and twentieth-century poet) between them; On one side is a wise philosopher who is immersed in philosophical concepts for the rest of his life, and on the other side is a poet who has no desire except luxury.But this confrontation does not resist dealing with Khayyam's works and the surviving reports about Khayyam Tab, because not only in Khayyam's works and the reports of his contemporaries, points such as being in the House of Ishrat and referring to the disinterestedness of creation have been seen. It may contaminate the ideal image of the rationalist religious philosopher, but there is also a rationality in the content and structure of the quatrains that makes it impossible to attribute them to a twentieth-century poet. The existence of these contradictions on both sides of the above-mentioned confrontation destroys the constructed confrontation from within and increases the possibility of attributing the quatrains to Khayyam by denying the fictitious poets.

Bayati is the predominant form of lyric poetry in the Turkish language. Bayatis have various themes (lyrical, social, historical and religious) and for this reason, they are recited in numerous celebrations and ceremonies. Bayatis are also a mirror of the beliefs, customs, temperament and aspirations of the Turkish-speakers and they are therefore of great importance. Fortunately, in recent years, in the light of popular literature in different parts of the country, good researches have been done on Bayatis, especially the Bayatis of the Azerbaijani people, but a close examination shows the Bayatis on other Turkish-speaking areas, including Zarandieh in Markazi Province. But no special research has been done and for this area, in this article, the villages of Hakimebad, Qasemabad and Sadrabad villages of Zarandieh city have been collected by field method and reviewed by content analysis method (descriptive-analytical approach). In this study, it has been determined that there are more than one hundred Bayatis with different themes in these three villages, but lyrical Bayatis have the highest frequency. These Bayatis, like the Azerbaijani Bayatis, are four-syllable and syllabic, but because in some of them the quantity of syllables is not observed, pause and break play an important role in arranging the melody. Most of them have rhymes; Like many Turkish Bayatis, the first shutters are the introduction and the main theme is expressed in the final shutters. Most of the characteristics of popular poetry, including the simplicity of words and language, the scarcity of literary terms and the uncharacteristic nature of the poet, are generally not much different from the Azeri verses.

Iranian literature underwent a fundamental change during the constitutional period, which is known as the literary revolution. Persian poetry, moving away from its classical traditions and rules, moved on the path of modernity. Iraj Mirza is one of the most influential poets. This is the period. His poetry is changing at this stage, both in terms of content and in terms of formal and linguistic structures. In addition to accepting new political, social and cultural themes, his works include new linguistic features and literary arrays. It is fresh and creative. The most important and most innovative innovations of Iraj Mirza are in the language of his poetry; He has accurately reflected the slang language of the age as well as new Persian and French words in his poetry, which has been very rare in Persian poetry before. The volume of modernities and linguistic and literary innovations of Iraj is so vast that he can be considered the most innovative constitutional poet in this respect. The present article examines the aspects of innovation and creativity in Iraj Mirza's poetry with a form-based stylistic approach; First, he examines the most important manifestations of modernity in the language of his poems in detail, then he identifies and introduces the new content and new literary industries of his poetry with a brief look.

Descriptology considers description not as a small part of the narrative, but as an independent view and a broad perspective on what narratologists have previously proposed. This indigenous theory is not only a practical device for the practical analysis of the text - both poetry and prose, and fiction and non-fiction - but is based on a theoretical and intellectual basis for a new look at literature from a new perspective. Descriptoligists believe that many of the beauties and features of a literary text are possible by examining the techniques and methods and details of descriptive application. In this regard, the historical novel Lazika by Heidar Ali Kamali (1348-1248 AH) due to its textual capability and special narrative-descriptive features, has a good capacity for application, critique and development of descriptive theory. In addition to introducing the theory and the text under study, this article tries to analyze the place of description in Lazika novel in a structuralist-leaning way and, in addition to explaining, evaluating and completing the theory, tests its practical applicability in text criticism.

The criticism of fiction in Iran began with basic moral criticisms which reduced art and fiction to a means of refining morality. With the rise of the Tudeh Party and the specific historical circumstances of Iran, it gradually moved towards ideological criticisms and a kind of almost homogeneous Stalinism. From the 1960s and with the advent of avant-garde magazines such as Jong-e Isfahan (The Isfahan Anthology) and the translations and writings of such individuals as Abolhassan Najafi and others, Western literary theories were introduced in Iran. Reza Baraheniwas one of the few academics who managed to distance himself from the traditional atmosphere of the university and apply modern criticisms and theories in his articles and research books as well as in his creative works. However, unlike Najafi and Golshiri who managed to create a coherent system of humanistic commitment and form, he stood somewhere between social commitment and formalism at least in his book entitled Story Writing. By elevating the concept of ‘sacred art’ in the post-revolutionary years, some religious intellectuals sometimes encountered the same theoretical contradiction on issues related to aesthetics. Nevertheless, the more the passion of the revolution was reduced, the more Braheni turned to the theories of structuralism and formalism and distanced himself from the combative commitment of the 1960s which inevitably led to a conflict of form and content in his Story Writing. Therefore, it can be said that as one of Baraheni’s most prominent books, Story Writing is an instance of the criticism which formed in the transition from the paradigm of ‘committed literature’ to the paradigm of ‘art for art’s sake’ and consequently formalism.