فصلنامه زیبایی شناسی ادبی
سال هشتم شماره 33 (پاییز 1396)

The trend of simple writing of poetry in the decade of 1380 was a reaction to that of 1370 focusing mainlyom complicity and difficulties and ignoring the audience. Thus, the poets of this trend tried to be for away from complexities to attract more audience to poetry. The present article tries to study this trend while using the Structural and content approaches. The result is that this poetic trend is devoid of poetical aesthetics, though it attempts to attract the addressees. However, the choice of addressee cant be a proper criterion for the preference of poetical or artistic works. On the other hand, this modernist trend has had no benefit for the poetry and Persian literature or it hasnt developed the aesthetic and linguistic capacity of the poetry. Moreover, this poetical trend cant be considered as the continuation of the poetic simple writing in the past eras in Persian poetry.

Archetype refers to the equal and the common icon of the human that is manifested in the shape of the common beliefs of each era.
The artists make use of the mental imagination in order to create an artistic masterpiece that has their roots in the mass unconsciousness. These mental images will reach to the conscious layers of the brain in the mainstream of the creation of artistic masterpieces. So the artist’s masterpieces created this way. The part will understand the archetype as a symbol. Therefore, in the literature, dealing with symbolic works and the criticism of which from an archetypical point of view could reveal from of the psychological and personal features of the artist that has its roots his thoughts and feelings. One of the most common of the archetypes is the "night". The repetition of the word "night" in the poems of Shamloo (more than 400 times) introduces the word as an archetype. The word "night" as a symbol of Anima contains other concepts such as darkness, sadness, solitude, silence, frightening, hopelessness and death in the poem of Shamloo.

A successful interpreter not only of a valve and the source language to the target language translation of the text Sahtar. The implementation and application of the rules of grammar and lexical transfers alone can not be the criterion and basis. Because of other factors plays out within the text should not be ignored in translation. So well we can not translate well and methodically built on a foundation
But the structure of the various factors that combine to form the framework and structure of the translation. Translator in the Ylaghy a few literary figures of concepts and imagery figure faces. The transition point in the translation process and framework of rhetoric more difficult than other structures.
Translator though high ability in the creation of translation, the target language is quite unique, but the audience would not be able to provide the literary world for his original audience. Of course, this means abandoning the art of literary translation is not pulling out and had taken action. But should the interpreter try to reduce the gap between the two languages and the important audience it can be done.

The present research is an analysis of literary styles, and investigates the literary affinity, the importance of allegory, and the shift in linguistics or language abuse in the story of the farm animal by George Orwell. The political abuse of language by George Orwell is one of the unique features of an animal farm story and an inseparable part of his likeness. A simple animal farm story is in fact a literary analogy that appears in the struggle for power, usurpation, intimidation, exploitation, hypocrisy, corruption, political plans, and terror from ruling classes that may appear in every form (human or animal ), Refers. In any case, the main thing is that Orwell, with his precise and prose style, has made this issue interesting and fun using live imagery and artistic use of the literary industry. This story with a clear written style, deceptively simple but creative and expressive language, is a source of massive aesthetics and intellectual pleasure and political attitude.

Archaism is one of highlighting and personazing methods of language. This method is one of unfamiliarity of ancient elements (archaic) of language. The use of historical language elements in texture of time after it is called archaism. Language units (such as morpheus, words, phrases, grammatical structures) have time seal on themselves, which means historical nature and language historicity. If we seperate past language elements from historical situations and transfer them to subsequent periods of language texture, then the speech time’s norm is broken and the speech takes distance from the historical texture which is born. Deep link of Parvin’s poem with Persian language and literature is clear and obvious in her various and perfect poetry. By passing centuries, Persian language has deserved her strength and authenticity dynamically. That shows richness of Persian language in vocabulary and content. Among contemporary poets, Parvin had tendency to classic poetry and she chose and used archaism as a place for making eloquence of language. Vocabulary and grammatical archaism in Parvin’s poetry has special position. In this research, I study four minimal stories of this famous poet based on the effect of ancient grammar and vocabulary in her poems that how much Parvin’s poetry was affected by which one of archaism types.

Sadi Shirazi is one of the greatest tales of Persian poets and poets who has been fluent in Arabic. Despite the dominance of Sadi in Arabic, Arabic poetry has given him a small part of his poetry, but these little poems show Raffi Sadi's position among Iranian Arab poets. Sadi Shirazi has used the imagination in Persian poetry and his Arabic poems. Although Sadi is a teacher in literary forms and forms, he has presented his skill to the friends of his friends. More than trying to demonstrate his ability and art in the use of literary industries, he sought to convey meaning in a variety of ways. Sadi has used Persian verse and Arabic poetry in all four subjects of the science of expression (simile, metaphor, metonymy and allegory), but the use (simile and metaphor) of his poems is more evident. In this research, Sour Zahal, has been analyzed and analyzed in Persian poetry and Arabic poetry of Saadi, with examples of Persian and Arabic verses.

Hafez has long since been known, and researchers areeager eloquence and beauty aspects, beautiful poems of the great poet explored and put on display, but the beauty of it, the words of Hafiz, resurrection and its beautysurprisingly novel. This study is trying, with the current study and explore specific techniques to use its poet, Hafez art word shown in the increased load music and other aspects of the beauty of his words portray. In general we can say that the verb in the poetry of Hafez, one of the most significant factors, illustrator and poet is done by combining various actions of the imagination, music is Ragvshnvaz his word.

The narrative art itself is a very important aesthetic. Usually a large number of aesthetic components come into play in well-paid stories. These components include the essential ideas of narrative structure such as point of view, narration center, choice of type of speech, etc., which are structured in coherent structured lines. In this study, the authors have investigated the structural component of the aspect, namely distance and focalization from the perspective of the genius in the collection of the semi-dark story of the month by Houshang Golshiri. The author has used direct narrative and narrated speech in the distance component in all thirty-six stories. Indirect speech has been used in sixteen stories and free speech in nine stories. Also, in the component of unconventional, homogenous representation, a story. Unconcentrated with heterogeneous representation, two stories. Internal center with homogeneous representation, twenty five stories. An external center with heterogeneous representation and an external center with homogeneous representation, each of the four stories and the external center with homogeneous representation is also not used in any story.