Research is one of the necessary components of knowledge; steady and tenacious research that thinks about solving problems depends on scientific standards in seeing and writing. Also, literature as an identifiable object, not as a creative text, finds talent to be investigated from different scientific angles (Literary Research). Original literary research like every original research in other branches of knowledge needs a hypothesis. The hypothesis is a guess for the research question and is the spontaneous and elementary answer for that. Also, the hypothesis is important from different directions: correct diagnosis for research background, explanation of research map, and determining research method, till getting the best answer. Because literary researches often are descriptive, hypothesis quality in this research has its special logic. Many centuries have passed since the old definition of literature. Today Persian literature in the form of poetry or prose attracts both non-professional and ordinary readers and encourages literary professionals to research literature. Hypothesis making is one of the materials of literary research. Hypothesis means "idea" and "conjecture" and in the term, it is the initial and speculative answer that the researcher gives to the problem of research. This article advocates the existence of a hypothesis in literary research; if the literary research is done scientifically and based on the research problem, research background, and research method, it will also include the hypothesis. Of course, we must pay attention to the nature of literature and its difference with other sciences. The quality of the hypothesis, for example, in natural and experimental research differs from the quality of the hypothesis in literary research. Also, instead of dividing the types of research into explanatory research, descriptive research, and exploratory research, it is better to consider the hypothesis necessary in literary research. Most literary research is descriptive (purely descriptive or descriptive-analytical). Descriptive research requires a kind of hypothesis that explains the states, conditions, traits, characteristics of objects and persons, situations, phenomena, and events in relation to each other. Therefore, it is not correct to focus on the usual definitions of the hypothesis derived from different books and to rule that literary research does not require a hypothesis or that the hypothesis cannot have a positive effect on literary research. It should be noted that due to differences in the nature of literature with empirical and natural knowledge, literary research on the application of the hypothesis also has its own expression. Literary studies and research can be divided into three categories in terms of their goals: 1. Basic research. 2. Applied research (and development research as a branch of it). 3. Practical research. This model has been used in research proposals of Persian literature, such as theses or dissertations and research projects in this field, by imitating the regulations of research methods in experimental sciences. Often and perhaps always, the literary researcher, by neglecting the meaning of these terms and forcing them to adapt to the types of literary research, uses each of these three titles as the etiquette of his literary research. This is not very true, and the literature researcher, after placing his research in each of these fundamental, applied, and practical classes, is forced to design a model of the hypothesis that literary research cannot respond to and respond appropriately. Give. Dividing the research into three categories: 1) Exploratory 2) Descriptive 3) Explaining and limiting the process of hypothesizing to explanatory research has also been a solution to get rid of this bottleneck. It is worth noting that instead of clearing the face of the issue, it followed another plan so that researchers would not have an excuse to ignore the hypothesis. Although some literary studies, when they relate to the history of literature, resemble historical research or sometimes approach causal research, the main focus of literary research is descriptive research. In descriptive research, as mentioned, hypotheses have their own quality. It should also be noted that the hypothesis differs from the theory. Unfortunately, sometimes negligence has meant theory as well as a hypothesis, conjecture, and conjecture. But the theory is made after the hypothesis. Based on the hypothesis, literary research is formed, and if this research can lead to the solution of a public problem, it will include a general theory that can be accepted or rejected. This essay according to library study and descriptive & analytical, is looking for that in literary research is hypothesis has effectiveness and if that's true, because of substantive difference between literature and other knowledge, in literature hypothesis How should it be? Having an answer to this question also is with criticizing one theory: Process-driven hypothesis in literary researches.

Humor in terms of content is a literary genre in which the writer and the poet express the causes and reasons of backwardness, defects, corruptions, and painful inadequacies of a society with an intentionally adjusting look with a taste of laughter in an exaggerated way. The four main elements of "laughter", "exaggeration", "social criticism" and "reformism" are involved in the formation of any humorous writing. Although a humorous look to reveal political and social anomalies and problems has always existed in the Iranian history and literature, it can not be compared, in terms of frequency and stylistic characterization, with the humor of the constitutional era. The relatively free and temporary atmosphere which was created for the writers and poets along with the emerging of newspaper media provided enough appeal for satirists to write. In Isfahan, the Naqour newspaper began to be published, imitating Mollansereddin and Sur Israfil. In the column "Ugly and Beautiful", which was probably written following Dehkhoda's "Nonsense and Birds", interesting humorous content was inserted. This article is qualitative research and examines the text of the column "Ugly and Beautiful" in the whole statistical community published for one year. The method of analysis is documentation (newspaper) and content analysis from a satirical perspective. Naqour newspaper (published in Isfahan from 1326 to 1327) was published under the management of Mirza Masih Tuyserkani. Its first issue was published on the 26th of Rabi al-Awal, 1326 AH, in Isfahan. This newspaper criticized the events of the society of that time and the activities of the Isfahan Provincial Association with a humorous and sometimes satirical expression. In its humor, Naqour, while playing with words and interpreting them, has used allegories and anecdotes to criticize the political situation of the country, and in this way, it has made humorous use of proverbs and presenting the letters of the readers. Most of Naqour's political satires are interpretive and how those satires deal with current events. Its distinctive feature is the use of humor, language, and folklore, especially since this newspaper was one of the local newspapers and was published in Isfahan. It has tried to use the dialect and idioms of Isfahanians and sometimes the Armenian minority. In the ‘Ugly and Beautiful’ column of Naqour newspaper, most of the content is related to the country. The relatively high level of political issues in the newspaper is influenced by the main function of this newspaper as a political tool, and the most important political issue raised in the Naqour newspaper is the criticism of the Isfahan Governors’ Association. In this newspaper, occasionally dealing with religious issues is only for the sake of the judiciary and the unjust behavior of that power. Otherwise, the humor and joke of the newspaper do not include this field, because the writers use religion as a lever of pressure or threat when they want to clarify something that is religiously understandable to the people or to respect the rights of the people by the authorities with a humorous and of course softened look.

 Hafez's poetry has always been the focus of study by researchers of various fields of the humanities, especially literary researchers from different viewpoints. The usage of linguistic techniques and literary arts and the reflection of various semantic relations between words are the reasons why researchers have viewed his poetry with a particular attitude. On the other hand, since the most outstanding stylistic and artistic feature of Hafez's poetry is his elaborate use of ambiguity, many scholars and poets have tried to extract different mysterious meanings by referring to pieces of evidence and examples of ambiguity in his poetry. The language of art reveals the wonders of the prismatic relations of words in Hafez's poetry. In other words, Hafez's linguistic and rhetorical techniques in his poetry have made the audience understand an appropriate personal level and extent of emotions, feelings, awareness, and knowledge of the linguistic and semantic layers of words and their artistic and content connection. They also could make interpretations and comprehend different meanings of his poetry to achieve more pleasure and enjoy the art. Undoubtedly, Hafez himself, with his knowledge and linguistic capacity, has been involved in selecting and combining words based on their artistic and semantic connections. However, the reader's place is vital in discovering and finding the semantic and linguistic layers of text and word's musical features. In the book Speech Engineering in Hafez's Poems, Mohammad Rastgoo has studied the reasons for selecting some words in Hafez's verses based on “the death of the author’ theory that is of valuable researches in discovering the internal and external features of a work. The arts and content of many of Hafez's verses are deliberate and perfect. However, eventually, in addition to different views and theories, there are other semantic and linguistic aspects in those poems. The research point of view is to design the same features and other linguistic and semantic layers in completing the views. In fact, the purpose of this study is mainly to examine the viewpoints and honest opinions about the aesthetic and semantic arts of Hafez's verses in the book Speech Engineering in Hafez's Poems, to justify, complete, and propose additional views that are detailed and documented in other artistic relationships with words in Hafez's verses. So this article tries to confirm the explanations and contents of some poems related to Hafez's artistic techniques to reveal his artistic capacities, especially in the verses that have been studied.

 Literary minimalism led to the development of a new genre of minimalist stories. The present study investigates narrative features of minimal stories by Abolghasem Halat. It seeks to find answers to the following questions: 1) What minimalistic techniques are used in Persian tercets of Abolghasem Halat? 2) What elements of minimalist stories are found in his Persian tercets?   Discussion Abolghasem Halat is a Persian poet who masters Persian tercets in expressing his thoughts and creating minimalistic sarcastic situations. The most salient aspect of his narrative style is the use of consecutive adjectives for his characters that serves to 1) enhance the rhythm; 2) build humor; and 3) ccreate narrative empathy in the readers to reorient their thoughts. His stories feature two completely contrasting characters that differ in terms of physics and social ranking. The stories build upon their dialogues, conflicts, descriptions, attitudes, and desires. His stories portray symbolic and extraordinary people that create special situations through their comic and surprising behaviors. Moreover, Halat's narratives correspond to the real-time of the events and match them in their duration, though in most cases time is ambiguous because the plot is bound to no specific time.  Halat’s greatness lies in his masterful combination of classic and modern narrative styles in creating a unique comic atmosphere. The present study claims that narrative eloquence, on the one hand, and reserved use of words/expression, on the other, are two key factors that differentiate his minimalistic stories. Metaphor and irony are backbones of Halat’s oeuvre that feed his stories and characterize his tercets. He also takes great advantage of fables. His tercets make up a set of stories that bear many similarities. His mastery in minimalistic stories is manifested in dialogues and actions, the combination of which instigates a sense of artistic capability in conveying social messages, on the one hand, and creates comic atmosphere, on the other. The beginning of many of his stories resembles anecdotes in that they all start with a description of characters. However, there are times that stories take more modern color and begin abruptly as if they depict a part of the protagonist’s life. They mostly surprise the reader. Almost all the stories end as the author expects the reader to partake in finishing the plot. This best justifies the comic sense behind the major events.   Conclusion Persian tercets are characterized by time and place constraints, disadvantaged characters, and realistic settings. More specifically, Abolghasem Halat uses humor, fables, and long descriptions that distinguish him from his contemporaries. The ending of his stories reflects the aim of his humor and broadly differentiates his style.

The literary term of contradiction has been the most controversial concept in literature. Some of the main literal and rhetorical techniques such as contradiction, confrontation, paradox, ambiguity, and probability implicit in contradictory words, failures ... are mostly based on contradiction and confrontation. In this article, which is done based on the descriptive-analytical method, with a content analysis approach, first, we review the contradiction and paradox in rhetorical books, and then we explain the application of such techniques in Molavi's 50 lyric poems. The results show that in most of the newly written rhetoric books, there are more accurate definitions and segmentations about the literal symbol of contradiction; besides, its importance has been taken into account more seriously than before, while paradox has been noticed only in some of the recent rhetorical books. The contradictions are of high frequency in Molavi's lyric poems based on the documentary method. The relatively high use of paradox in Molavi's sonnets reflects his innate genius, creative thinking, artistic and rhetorical deep understanding of the artistic capabilities and rhetorical techniques, and is commensurate with his mystical attitude, and ecstasy. The Research process on the contradictions and paradox of the view of rhetoric books is as follows:  

 the artistic and creative works of Iran and the world have been using contradiction and contrast in their foundation. Contradiction and paradox are the two most important concepts of Molavi's work that have not yet been the subject independently. 1-1. Statement of the Issue: Firstly, how have these contradictions and contradictories (paradox) been used in rhetorical books? And secondly, how did Molavi use them in Divan-e Shams in a rhetoric way?  1-2. Background Research: there had been some researches done to study contradiction and paradox such as: "Reflection of contradiction in Masnavi"; "Contradiction and its types in Persian Literature"; "Contradiction at the same time of unity"; "Study of the components of mystical paradox in Hakim Sanai's Ghazals"; "Paradox language"; "Contradictory phenomena of aesthetics"; "Paradoxical critique and analysis of historical and rhetorical process"; "Mystical experience and paradoxical expression"; "Content paradox in Persian Poetry"; but the surveys show that there has been no research yet on the role of contradiction and paradox in Divan-e Shams. 1-3. Necessity and Importance: Considering the importance of contradictions and paradox in Molavi's sonnets and the fact that these two concepts and their types in rhetorical resources, including the different species of contradiction and paradox in Molavi's ghazals, have not been discussed in the researches mentioned above, it seems like that is necessary to investigate in this regard. 1-4. Research

 in this study, the library research method has been used, and the data collection was descriptive-analytical. 2. Discussion  2-1. Contradiction and paradox in rhetorical books 2-1-1. Contradiction: firstly, the development of contradiction in rhetoric books is explained in a timely order from Tarjoman Al-balaghe (from the end of the 5th century) to Naghd-e Badi’ (1379). The research shows that "contradiction" has been named one of the most beautiful and efficient literary arts as tazad, motabeghe, takafu, motabegh, tabagh, etc. Rhetorical scholars believe that the basis of contradiction is the usage of contrary words. Some of them has only confined to define the meaning of paradox by providing a few examples, while others believe that "the presence of beauty" is the necessity of using this array, and some others believe that the presence of a sense of contradiction – even without using contradictory words- can be named "contradiction". Others have only mentioned examples for "contradiction" without explaining its different species. Although some scholars, especially more recent scholars, have paid more attention to explaining the various species of contradiction and their definition, divisions, and their aesthetic aspects, they divide it into a contradictory noun, verb, aphesis, opposition, the ambiguity of contradiction, eftenan, paradox and sensational.  2-1-2. Paradox: It has not been mentioned as an array in rhetoric books because it has been introduced to us by western literature.  In this article, 50 lyrical poems of Ghazaliyat by Shams-e Tabrizi have been randomly selected and studied based on the content analysis to explain the rhetorical contradiction and paradox in Molavi's sonnets. The conclusion of the study of Molavi's ghazals, based on the divisions in rhetoric books, shows that paradox has appeared in 9 ways in Molavi's ghazals. The frequency of types of contradictions in this study is as follows:     Contradiction types Paradox Explicit contradiction Opposition Inexplicit contradiction Semantic contradiction Verbal contradiction Contradiction of reversion aphesis Contradiction of ambiguity Percentage 30.3 25.2 17.8 14.9 4.4 4.4 1.5 0.75 0.75   2-1-3. Opposition (18%): this type of contradiction has third place in Molavi’s work because his forethoughtfulness dissuades him from prejudice; in a way that he displays every aspect in addition to its contradiction.  Half hemistich Three half hemistich One redoubled hemistich One hemistich One couplet Two couplets Types of Opposition 11.1 5.5 33.33 16.6 27.7 5.5 Percentage  

 contradiction has been more and more attractive to rhetorical scholars by the day. Most of the newly written rhetoric books have paid more attention to the divisions of contradiction, its aesthetic role, and rhetoric effect. "Contradiction” has a high frequency and different types and styles in Divan-e Shams attributed to Molavi. Every type of contradictions displays the meaningful relation between contradictions and inherent genuine, intelligence, and mystical ecstasy of the poet's mind. The paradox with 31% usage shows his mystic language. The "explicit contradiction" with 26%, because of its persuasive nature, and the "opposition" with 18% displayed in 6 different styles, show his intelligence and creativeness. For example, using contradiction in one redoubled hemistich, the confrontation of one side of contradiction in three half hemistich with its other side in one-half hemistich causes transferring excitement and spiritual feelings to the audience that makes them more enthusiast to understand the meaning of the poem. You can say that in this regard to the opposition, one army battles with three armies. "Inexplicit" contradictions with 15% show his open and creative mind for displaying spiritual concepts. The rest of the contradiction types are not highly frequent. This characteristic is due to that they don't give the audience help understanding the meaning. The reason for this factor can be the concepts discussed further: First of all, Molavi's great interest in the use of much contradiction rooted in his mystical and philosophical insight; Second, the widespread use of paradox is due to his mystic skepticism and the natural homogeneity of paradox with the specific language of mysticism; Thirdly, the frequent use of the "inexplicit" contradiction expresses his genius, creative mind, and literary taste, and all this is one of the factors of Molavi's sonnet's charm and verbal and spiritual value which shows the rhetoric of the contradiction in his ghazals.

 Persian literature has been closely related to the miniature throughout history. Recognizing the poetry delicacies and equalizing them in miniature, Persian painters could present a transcendental expression appropriate for the rich Iranian culture. Among this delicacy of poetry, one of the fantastic and beautiful elements which make poetry or miniature active and living is “personification” which expresses a part of the supernatural world. Miniaturists have paid particular attention to personification in classical and contemporary miniature. The miniaturists have utilized the artistic capacities of personification to express their great concepts and heartfelt representations, with animating and symbolic language. This research that has been done on the descriptive-analytical method tries to explain and clarify the situation of personification and its artistic expression in both poetry and Persian painting. Discussion and analysis Personification is one of the most beautiful forms of imagination in poetry that seizes the poet's mind in the inanimate objects of nature and gives them move through the imagination. In rhetoric books, personification is a kind of metaphor that means to use words in a different meaning. Personification gives the artworks, artistic, and imaginative aspect.  Generally speaking the personification in terms of giving human or animal character to the objects is divided into two general types that are humanoid and animalist. The humanoid in the sense of personification means giving humanoid characteristics to the objects. Another type of animalist personification is to attribute the characteristics of animals to the objects. Some experts have equated it to "Animism”.  Using imaginary forms and transforming them into the visual language not only has created a common language between miniature and literature but also has enriched the works of the miniature. The personification is one of the forms of interest in Persian painting, and the ancient Iranian artists have used the artistic language of this device to express their supreme concepts by animating and symbolizing the animals, corpses, plants, and objects. Personification has existed in early Persian miniature and the use of it in the artworks of Kamal ol_Din  Behzad is recognizable. But what is certain is that this device flourished in the second Tabriz School. But after that time the use of personification in Qazvin school and Isfahan school decreased and so few works include such characteristics. During the Qajar period, the artists’ tendency of Western arts changed the style of language and artistic expression. But attention to personification and its visual use is re-emerged in contemporary miniature after a century of decline. Hossein Behzad and then Mahmoud Farshchian and other contemporary Persian miniaturists also revived personification and brought many innovations at various levels. By examining the works of classical and contemporary Persian miniature, the use of personification can be categorized and analyzed in five titles including elements of nature, objects, animals, abstract motifs, and abstract concepts. Artists have used the expressive capacity of personification in the elements of nature and have presented the greatest manifestation of humanoid and animalist in elements such as mountain, rock, soil, plants, clouds, sun, etc. Also, using animalist personification, Persian miniaturists illustrated some texts such as Kalilah and Demena or Mantegh ol-Teir, which are essentially allegorical stories, to express mystical and moral concepts, portrayed animals talking to each other.  Another type of personification has been used in contemporary art which is giving human personality to animals. Miniaturists have also given humanoid and animalist aspects to various objects. In such images, parts of animal or human supplies are often ascribed to the objects and thus fall into the category of personification. Miniaturists have also used humanoid and animalist imagery in illumination and Islamic (arabesque) letters in abstract motifs. One of the distinctive features of contemporary miniature compared to ancient times is the illustration of abstract concepts. Using their imagination, the artists have given a tangible view of metamorphosis and the abstract world.   Conclusion The present study shows that personification is one of the most imaginative forms of literary rhetoric that has created a dynamic effect by animating the objects in the poems. This device has been used in Persian poetry in two general ways: humanoid that means giving humanity to the objects and also animalists or animism means giving animal character to the things. The structure of this device is such that one of the human or animal supplies, actions or doings is attributed to objects. The discussions and conversations between things and non-intellectual objects to express the poet's ideas are examples of this device. Persian miniaturists have also created works that have taken on the metamorphosis dimension by recognizing and using the expressing and imaginary features of personification. Researching the works of classical and modern Persian miniature from the perspective of the use of personification clarifies the fact that the painters in a variety of fields such as natural elements, (including plants, rock and soil, sun and clouds and quadruplet elements, animal elements, objects, abstract motifs, and abstract concepts) have used various aspects of personification as a special way of expressing their heart's presentations. These features have intrinsically linked this art to Persian poetry and provided a common language in expressing the facts of the supernatural world.

The remaining anthologies from centuries are literary and valuable sources that preserve the works of poets and writers. One of the most important historical periods in writing anthologies and memoirs is the Safavid era. During this period, several changes appeared that made the anthologies like poetry and prose literary collections. Compared to previous anthology books, this work has an advantage in development. One of its most important signs of progress is the critical approach used in mentioning and recording poems and verses. That progress was the result of the prevailing literary criticism in the Safavid era. Besides the criticism attitude, another aspect of the past anthology works is the poets' historical and biographical considerations.  These items contain valuable information about the state of poetry and literature of that period and provide researchers with information about the literature before the Safavid period.  One example of such an approach in Persian anthology is the valuable collection of Latayef al-Khayal, which, in addition to biographical considerations, has the changes mentioned in the tradition of compiling Persian literary collections and is one of the most outstanding anthologies of the Safavid era which in both terms of the number of the poets and verses has a special place among the others. One of the main characteristics of this work is mentioning the new poets, whose names have not been in any previous similar ones. Another point to consider in this anthology is the inclusion and expression of literary arts and the criticism of verses shown with abbreviation signs. These signs, which criticize the poems in different views, have been compiled in seven subjects and show the prosodic problems of poems. They also critically mention the differences, in terms of rhythm or rhyme in the initiating verses, by which the author could cover the weakness in the meaning of a hemistich or difficult points in composing it. The poems' problems have not gone away from Mohammad Saleh Razavi's eye, and he has shown all of them in the verses with abbreviations. On the other hand,  if a poem has reached maturity and perfection, he has elaborately helped the literary specialists to identify it. In the present study, while introducing the anthology and its collector's date, Latayef al-Khayal manuscripts, emendating methods, and content are introduced. Then the critical signs, rhyming, and rhythm techniques have seen throughout Latayef al-Khayal are examined. In continue, the abbreviated and conventional symbols focused on criticizing the poems have been mentioned. Then the meters and the rhymes of the poetries are analytically discussed in detail.

Except for the lost work of Managheb al-Sho’ara (early 13th century) written by Abo-Taher Khatouni and the scientific-literary magazine of The Four Essays (Chahar Maghaleh) written poetically by N. A. Samarkandi (circa 1156), Lubab ul-Albab is the first literary biography written by ‘Aufi Bukharayi (1222). When Iran and Transoxiana were divided politically in the 17th century, this genre was still kept common through the publication of five biographies in Transoxiana. Transoxiana was in the constant struggle because of its politico-economic instability; constant struggles among the Khans in the region, and the wars in Khorasan border, all in all blocking the literary and cultural flourishing of the region; however, in 1871, Rahmat-Allah Vazeh Bukharayi (1818-1893/1894) revived this literary genre after 179 years through his biography entitled Tuhfat al-Ahbab.

Rahmat-Allah Bukharayi, the son of Mohammad Ashur, wrote under the penname of Vazeh. He was a poet, writer, and an Iranian biography writer from Bukhara. This study aims to explore the role of Vazeh Bukharayi and his biography in reviving the tradition of Persian literary biography writing in the literary environment of Bukhara in the second half of the 19th century. The assumption is that Tuhfat al-ahbab fi tazkirat al-ashab became the model of biography writing for five other writers in Bukhara in the late 19th and early 20th centuries because of the originality of the oral and written references, its comprehensiveness, the writer's fame, and the employment of the biography writing criteria in selecting the poets and poems. 

To answer the research questions, the study employed an analytic-critical approach to introduce Vazeh Bukharayi, and then analyzed the nine criteria significant for the biography writer. 

Vazeh Bukharayi's ancestors were a group of enforced immigrants from Merv under the rule of Amir Shah Morad Manghiti (ruling from 1785-1800). They moved to Samarkand and Bukhara in the early 18th (1785) century after Merv was destroyed. Vazeh was born in Bukhara and lost his father and family when he was beginning his education. However, he could finish his education in Bukhara at the age of 27 in 1844. He is most famous for his biography writing. Tuhfat al-Ahbab fi Tazkarat al-Ashab or Ghari Rahmat-Allah is a regional-epochal biography in Persian. Vazeh's biography uses a dual simple and literary language of Persian and Bukharayi’s Persian accent. The biography consists of three parts: introduction, body, and conclusion. The introduction and conclusions sections are very concise and short. The biography writer has alphabetically listed (based on their pennames) the life and works of 148 poets, scientists, Persian literary figures living in Bukhara and the surrounding region in the Manghiat era. Some other poets from the literary environment of Mings in Kokand, particularly under the rule of Amir Omar Khan Kokandi (ruling from 1810 to 1822) were noted as well. Moreover, the biography describes the career of 14 Afghan poets, 6 Qajar poets, 6 Iranian immigrants from Merv to Bukhara, 4 Indian poets, and 1 Bulgarian poet (Kazan, Russia).   

Rahmat Allah Bukharayi revived the genre of Persian literary biography writing in Bukhara after 179 years through the publication of Tuhfatal-Ahbab fi Tazkarat al-Ashab, selecting poets from the literary environment of Iran, Afghanistan, and India. This brought the literary mainstream, particularly in Iran, back to Bukhara. He established a novel approach in style and language, by avoiding the Bideli's superficial and complicated style. In this regard, Vazeh could be viewed as the survivor of the traditional Persian biography writing in Bukhara in the 19th century after Mohammad Badi' Maliha Samarandi, who wrote Mozkker al-Ashab in the late 18th century. All the literary and historical biographies authored in the Persian and Uzbek region in the 20th century are in debt to that of the Vazeh, meaning that they could all be a complementary work to Vazeh's biography.

 One of the important concepts in the development of the language of a text is how to use linguistic tools to express the subject and achieve the author's purpose. A text is an interconnected set of different linguistic components influenced by each other. Vocabulary, syntactic and rhetorical combinations and structures are among the constituent, textual elements. The word as the smallest meaningful unit of language is one of the main components of a text on which the text’s structure and meaning depend. The choice of words in each text according to its type, structure, and goals is one of the most important linguistic issues.  One of the components of a text, which is considered as a type of word in grammar books, is the adjective. An adjective category is a sub-element that has different types based on the concept, structure, and grammatical classification. What makes adjectives worthy of being considered as beyond these divisions is their place in influencing the structure, content, and characterization of the language of a text. Adjectives, based on their content and form, are considered effective elements in expanding the meaning, praise, condemnation, rhetorical and syntactic feature in the text. This issue can be examined in any text according to its linguistic structure and content. In ideological texts, the adjective according to the context and its political attitude toward the institution of government finds a place beyond a sub-element. It also consistently presents in the linguistic structure and purposeful context of the text. Persian poems, especially eulogy poems, are the most prominent types of ideological classic texts that have a strong connection with the prevailing political thought in the era of every eulogist poet. What is accepted by default is the use of language by the eulogist poets to form the discourse of power in the text in favor of the institution of government.  Accordingly, the category of adjectives in the poems of six prominent poets belonging to the flourishing periods of praise poetry, from the beginning to the end of the sixth century, was studied. These poets are Farrokhi, Manouchehri, Anvari, Sanai, Khaghani, and Kamal Ismail, from whom twenty poems of praise were selected and analyzed. The reason for the selection was that the format of the ode is the best one for composing praise poems. Poems were also selected from among the selected poems of poets.  Accordingly, the focus of this research is on the morphological, syntactic, rhetorical, and semantic position of the adjective in the praise poetry and its application for the text and the author. The research questions are the followings: 1. How much attention have the eulogist poets paid to the role of the adjective in highlighting the discourse of praise? 2. What meanings, identities, and actions have been described through the adjectives highlighted in the text of praise? To answer the questions above, adjectives were examined in terms of subjectivity and objectivity, ideological role, syntactic position including predicative combination, normally with the mention of the adjective or the inverted adjective compounds, attributive and addressed form, inclusion, and generalist attitudes by the use of ambiguous and multiple counting attributes. Rhetorical semantics was the other field of study in terms of normative deviation. To the purpose of this research, the main factors determined were as follows:  rhyme construction, adjective repetition, pun, alliteration, coherence, collocation, and regularization using similes and metaphors. Praise poetry, as the most obvious example of government poetry in classical literature, is an ideological poem in that the government is reflected and stabilized. The poet praises the adjective, the discourse of power, through linguistic propositions and in this research, specifically, the adjective, and the discourse of power. Praising acclaim with a completely positive semantic load is the most important function of attributes in praise; the traits that internally represent the praised with the scope of the religious and worldly rule and a set of characteristics such as courage, forgiveness, and patience in his personality.  The totalitarianism of the government is embodied in the eulogy by praising the praised and issuing general rulings about him, using vague generalist traits and numerous counting traits. Emphasis on praiseworthy action as the main reason for praise, using actual attributes, emphasis on moral and esoteric attributes instead of outward ones, is another part of the poets' performance in the field of attribution. The position of adjectives in literary illustration networks has turned adjectives into tools of the verbal and spiritual art of praise; a tool that, in addition to creating musical images and expressive semantics, has overshadowed the ideological conceptualization of the text. The polarization between the praised and his opponents, by attributing positive traits to the praised and negative traits to the opposition, leads to the consolidation of the internal force and the repulsion of the non-internal force, which is one of the ideological functions of the institution of power.

 In Iran, as well as in Iraqi Kurdistan, the critique of literary texts using ‘literary theories’ has grown in recent years. The present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals. The research method in this article is criticizing the critiques. The aim was to answer two questions: Why has this kind of critique and theory taken up so much volume? How have researchers applied this theory? The volume of the articles includes 188 Persian and 76 Kurdish articles. After discarding 46 Persian and 29 Kurdish articles in terms of the basic structure, the scope was reduced to 142 Persian and 47 Kurdish articles. After analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. The findings of the research are that in the published articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Looking at how this theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts.

The critique of literary texts using ‘literary theories’ has grown in recent years in Iran, as well as in Iraqi Kurdistan. This could be due to a kind of imitation of Europeans and a new definition of criticism, with the influence of Anglo-American cultural and social developments. Because in the West, since the beginning of the twentieth century, turning to literary theories has become very important and many books have been written about it. Every article or literary research needs theoretical support, and every researcher must use one or more literary critiques and theories to advance the work in order to maintain the scientific level of his / her research and its tastelessness. Literary Criticism Journal is one of the most popular journals in the field of academic literary criticism, which was launched in 2008 and soon became a base for many critics in the field of criticism and theory. Sulaimaniyah University Journal is one of the most prestigious academic journals. Therefore, the present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals.  

To achieve the purpose of the study, in addition to using Cochran's formula for the statistical analysis, metacriticism was used. In this regard different and close words and terms have been used, such as critiques of criticisms, reading of readings, etc. Metacriticism goes beyond literary criticism and criticizes ideas, rules, and methods of critiques together. In other words, it is a way of generally looking at criticism. Studying the critical discourse of Metacriticism can help to perpetuate the interlocution and dialogue between different critics.   Results 3.1.    Data Analysis to Investigate the Amount of Using the Structuralist Theory in The Two Journals To answer the first research question of the study, after analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. 3.2.   Data Analysis to Answer the Question of How to Apply the Structuralist Theory in The Two Journals With respect to the second research question of the present study, the authors studied the published articles based on different genres to find out the amount and the application of this theory. The following themes were observed in 142 Persian and 47 Kurdish articles. A: Classic poetry B: Contemporary poetry articles C: Articles that are about classical prose/fiction texts D: Articles that are written about contemporary or modern prose texts/stories E: Articles that are written about a film F: Articles that are about critical texts or critiques of criticism and theory G: Articles that are about different theories of structuralism with no specific textual analysis.  

 The findings of the present study showed that in the articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Considering how the structuralism theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts.