فصلنامه زیبایی شناسی ادبی
سال یازدهم شماره 43 (بهار 1399)

Contemporary Persian literature is unmatched in terms of its deep social and political insights and the breadth of human vision and popular goals that had rarely been possible in Iranian literary past. The poets and writers of this period, along with other members of society, criticized the ugly manifestations of society, and literature which before could not be criticized by governments for the sake of social order in this period as a weapon for Freedom and the means were used to express political and social criticism. The purpose of the present study is to examine Nima Yooshij''s poems based on the theory of critical aesthetics of the Frankfurt School. Nima''s approach to the quality of art''s connection with society has a critical approach. An approach that, as Frankfurt''s thinkers have interpreted it, is well visible in modern art. According to this view, modern art indirectly rejects the present situation without being reduced to the illustrator of social realities and entangled in excessive recreation. The results show that in Nima''s poetry, the critical relations of art with society appear to be excellent, with the use of certain techniques such as naturalism, symbolism, themes such as love, criticism of people and society, etc. It is evident in his poetry. In addition to these critical themes in the context of poetry, he has an interesting opportunity in the field of political and social criticism

"Death" in public usage means "not becoming" the existence of this world and the end of life. But the writers of thought and thought in various fields of thought, especially in the realm of mysticism and Sufism, have explained the "nature and meaning of life and death" from their own point of view, based on their attitudes toward the afterlife. Sanai, who has a significant position in the field of poetry and mysticism "Praise of Death and the Conceptual Relationship between the Nature of Life and Death" is in his intellectual geometry, with a different look and special focus. He is not the first or last poet to attempt to explain the "concept of life and death But "The Death of Praise of Axis and the Stranger of Its Nature," in support of the Jajbeh brothers who specialize in the "Philosophy of Life" in the form of various allegories and various concepts entitled Beautiful Creations, in his mystical poems, especially Hadiqah al-Haqiq, It has a high and unique frequency, in this - the first Persian mystical system - we see a beautiful and varied explanation of the "concept of life and death". In this article, we have tried to study and evaluate his views and based on his valuable works, especially the precious book "Hadiqah".Al-Haqiqah "Analyze the concept and nature of life and death, the dimensions of praise death and the reasons for her longing" in dealing with this mysterious event.

Siavash is a tragic story, which is consisted of different conflicts, of any kinds; internal and external, it is full of contrasts and elements of Iranian and Turanian (turke), stuggle between shatan (ahriman) and yazdan (Allah), between wisdom and headlessness. Every charactors in the story are the manifestations of value and disvalue. Siavash himself is the main character, and the aim of all pains. He is the representative of wisdom, beauty, loyalty, and prayer of god, without any headlessness. Siavash is ln fight with, external and lnternal, like fate, Sudabbah, war with Turan, the jealous of Garsivaz, and also he should fight with bad behavior of Afrasiab, headlessness of his father (Kavoos), and more important he is suffering of this thought, going to Turan. We can get and understand, the Siavash character, through Ferdowsi direct explanations, the descriptions from the other characters, his behavior, his actions, his telling of himself, and finally we can know more him through his dialogus , letters, and his dreams . This essay is about Siavash.

Hossein Manzavi is one of the greatest contemporary lyricists who, while being faithful to the traditional structure of lyric poetry, has brought pleasant vocabulary innovations in his sonnets in his language and vocabulary. His poetry revolves more around romantic themes, yet is not devoid of social approaches. He was mostly a lyricist, although he sometimes wrote white poetry. In his sonnets, the beloved's face has undergone a tremendous change, which is due to the kind of attitude of the lover-poet towards him. He has been freed from the repetitive descriptions and stereotypes of the beloved's face in classical lyric poetry, and he has put similar and new similarities and similarities in his description of the beloved's face on his agenda. . The poet tries to describe the beloved's face today. Research shows that in isolated lyric poems, the lover and the beloved have become closer to each other, and many of the desires of the lover, which was a wish in the past, have become available today. In addition to the traits that are common to the beloved, newer and more modern traits and combinations are also mentioned for the beloved in the isolated sonnet, which has no precedent in the past.

Ritual poetry forms a large part of Persian poetry, although attention to religious and ritual poetry overshadows much of the history of Persian poetry from the Khorasani style to the new poetry; Safavid and its focus on religious literary genre. In Sistan , which houses a large number of Shiites, ritual poetry has been widely welcomed. Poetry in this area can be cited in this regard. What distinguishes and illuminates the ritual poetry of Sistan is the special attention to literary beauty. Exquisite and beautiful metaphors can be considered as the most important aspect of Sistan's poetry in comparison to other parts of Iran, since the formation and prevalence of metaphor, which is the most mature literary beauty, expresses the perfection of poetry. Keywords: ritual poetry, Sistan, Shi'ism, metaphor, contemporary poetry.

In mystical worldview, this world is a shadow of another world or the unseen world. So whatever is in this world is the shadow or symbols of that invisible world which expressed through language. This fact is sometimes expressed in the language of the phrase, at a higher level inevitably has to be conveyed to the audience through the "sign" language. In Mathnawi, Molana has used both expression and sign language. In this article, we have shown how Molana's use of sign language has, in a vast way, represented different things for human beings, plants, animals, and abstraction. The main issue of this research is to explain how Rumi symbolizes in Masnavi. The sign language and symbols used by Molana are directly related to his worldview. In this study, which collected its data through a library method and examined them by descriptive- analytical method. The results showed that Molana presents all these symbols with a system that ranges from the evolution of the universe from the solstice to man and thought. But the stuffs are obviously increasing on plants, animals, and especially on abstractions.