نشریه ادبیات پایداری
پیاپی 27 (پاییز و زمستان 1401)

Social poetry mostly deals with expressing the problems, needs, and daily life issues of the society. This kind of poetry is a result of the direct connection between the poet and the society; the poet tries to reflect the objective events and realities of their own society through it. Contemporary Arabic and Persian poetry, alongside other topics, mostly addresses the pains and sufferings of the people. Mahmoud Darwish and Qahar Asi, like other contemporary poets, have been influenced by the political and social circumstances of their time. The tyranny of the rulers in these two countries has obliged these poets to fulfill their social mission effectively. Although social poetry is a subset of poetry of sustainability, as it has assigned a significant portion of their poems to itself. It has been subject to independent research, analysis, and scrutiny to reveal the perspectives and views of these two poets. The findings show that the most important social themes in the poems of these two poets consist of: sympathy with people, the pain and suffering of war refugees, exile, hope for the future, and the promise of peace. Furthermore, the political events in their homeland and the difference in the environment have resulted in a difference in their perspectives.

 It is a pure descriptive study in which the documentation tool has been used to collect the data. The content was organized using a descriptive-analytic method based on the American school framework for comparative studies. The researchers also apply a quantitative research approach to explain and evaluate synaesthesia in the abovementioned works.

Critics consider poetry to have various functions, ranging from providing pleasure to describing and explaining phenomena in the world of existence, cultivating and refining ethics, and promoting values. Of course, it should not be overlooked that each of these functions can vary depending on the conditions of time, place, literary type, and the poet's perspective. However, one of the most important functions and responsibilities of poetry is its social function because social events and movements are among the important human issues that have an inseparable connection with the spirit and psyche of human beings. When poetry becomes intertwined with the life of the people in society, it attracts more attention and takes literary works to the edge of immortality. Social events are not always the same, so their reflection in literature and poetry is always different. Different literary forms are also the result of social and cultural conditions, and poetry is a suitable medium for reflecting these events among various literary types.Badr Shaker al-Siyab, a modernist Arab poet, sees poetry as having a social purpose and believes that poets and artists have a great responsibility to their society and the people, which they must fulfill in the best way possible and highlight the pains and desires of their fellow citizens" (Rajaei, 2009: 164).Khalil Matran, one of the pioneer poets of the romanticism literary trend, also believes that every nation makes its own tyrants and oppressors, the silence of the people in the face of oppression and social injustices cause oppression to continue. In dealing with social issues and fighting against oppression, he directly mentions the names of oppressive rulers (Mir Qadri, 2006: 412).Nazik Al-Malaika who is one of the pioneers of realism and the founders of new poetry, believes: "All the visual, auditory and mental emotions a person are formed in society, and to be one of the citizens of this society, he cannot escape from the characteristics that govern it, and such a person whether you like it or not, you have to portray your society. Consquently, community and sociability are natural characteristics of every person, which cannot be considered as a shirt that a person can take off whenever he wants, but in his blood, thoughts and nerves (Al-Malaika, 1962: 264).Ehsan Abbas is one of the Arabic critics who took the social aspects of the poetry in his consideration and believes that the poet's relationship with society takes shape in three distinct ways:a) The social position of poetry in terms of its connection to economic factors, social environment, and values that shape or manifest in the poet's work.b) The social theme or objective that the poet strives to achieve.c) The social impact of poetry throughits reliance on the audience, which can be small and limited or large and extensive (Abbas, 2009: 137).Mikhail Naimeh believes that “Poetry is not merely a combination, coordination, and harmonization of words, rhymes, and rhythms, nor is it simply a creative force. Poetry is the song of the nightingale, the cooing of the dove, the sound of trickling water, and the roar of thunder. It is the smile of a child and the tears of a mother who has lost her child. Poetry has accompanied humans since the beginning of creation and will stay with them from childhood to the moment of death. Poetry is familiar to broken hearts devoid of joy and excitement in this world, as well as to hearts full of sophisticated pleasures and desires” (Naimeh, 1998: 91).The contemporary world has witnessed tremendous changes in human society. These developments are prominently revealed in the field of human relations and affect poetry. Contemporary poetry reflects human experiences. "Today's poet is no longer the old poet who sits on the platform of oratory, exhortation and wisdom, but comes among the people and ranks among them, and shares his lived experience in his poetry with them (Ziyaadini, 1389: 36-37). Therefore, the most important task of contemporary poetry is to reflect the social and human realities of a society, and it is a powerful and influential tool for expressing new ideas that sprout in the mind of the poet. By utilizing the power of expression and the companionship of words, poets can highlight the existing realities in society. On the other hand, human issues and themes have become increasingly complex in human society, and poets consider it their responsibilities to reflect these human realities and strive to achieve this primary and great goal. In this regard, we have witnessed the emergence of poets in two countries, "Palestine and Afghanistan", who have taken steps towards social activism and struggle with a humanistic and social approach. Among all these poets, Mahmoud Darwish and Qahhar Aasi have shone brightly with almost similar destinies in defending the human values of their homeland and people.In this research, among the human themes of these two poets, the components of their social poetry, which have more critical and corrective content, have been examined. Because the analysis of such poetry expresses common pains on the one hand, and clarifies the poet's thoughts on the social realities on the other hand.

 Based on the research conducted alongside linguistic and cultural differences, there are common social themes in the poetry of these two poets. The most important common themes are empathy with the people, reflection of the pain and sorrow of refugees, exile, hope for a brighter future, and the promise of peace. However, what distinguishes the social themes between these two poets is the political evolutions.  In Afghanistan before and after Mujahideen, Qahar Asi, like Mahmoud Darwish, always criticized the occupying forces and defended Islamic and human values in his poetry. But after the Islamic government came to power and the internal wars began, he focused more on criticizing and reflecting on their atrocities. Meanwhile Darwish in his poems, mostly screams the pain of exile and criticizes the aggressions of the occupying forces, but Qahar Asi, in addition to criticizing foreign forces, focuses more on reflecting on internal wars, reflecting on atrocities, and warning against bloodshed. Empathy with the people is also one of his important themes. Alongside his efforts to liberate the country from foreign domination, he is not insensible to the daily lives of the people. In his poetry, he calls on everyone to support and help oppressed people. The poet encourages people to defend national values, kindness, and unity. He has also reflected on the suffering and sorrow of Islamic countries in some of his poems.

Posters of the Art of Resistance Festival are one of the fields of formation of symbols and signs affected by the Islamic Revolution. The juxtaposition of the two factors, "image" and "text", is important in the design of these announcements. Symbolic relations appear in the design of the mentioned announcements in two ways: the axis of paradigmatic and the axis of syntagmatic. In the axis of paradigmatic, one element replaces another element. In the axis of syntagmatic, two or more elements are placed next to each other these relationships in some posters implicitly and in others explicitly convey the desired concept to the audience. In this research, the structural relations of signs in the posters of the resistance art festival will be identified.Emamifar, Sajoudi, and Khazaei (2010) in an article entitled "Semiological examination of announcements from the emergence of the Islamic Revolution of Iran until 2001" investigated how meaning is produced in the design of posters from the IslamicRevolution of Iran until 2001. In an article entitled "The Art of the Islamic Revolution", Rahnavard (2000) investigated and analyzed the Islamic Revolution of Iran in 1979 and its influence and expression on the culture and art of Iran. Talebi (2017) in his article entitled "Reflection of Islamic components and values ​​in the art of resistance" examined the posters of the first decade of the Islamic Revolution of Iran.This research aims to investigate the paradigmatic and syntagmatic axes of signs structurally and the types of relationships related to them in some posters of the resistance art festival, as well as analyzing the explicit and implicit meanings of visual and written signs in them. Accordingly the two following questions will be investigated:Based on what relationships do visual and written signs in the posters of the resistance art festival form the meaning transfer process?
What roles do these relationships play in the meaning of the poster?

The research method is descriptive-analytical. Collection of library and documentary information was through note-taking and image reading. Data analysis is qualitative. Statistical population is a collection of posters from the 5th Resistance Art Festival that was held in 2018. The sampling method is selective

The semiotic relationships in the resistance posters can be classified into two axes syntagmatic and paradigmatic signs. In the analysis based on the paradigmatic axis, relationships are based on 3 factors, which are: contrasting relationships, analogical relationships, and comparative relationships.

The poster "We come from the grandson of Abel of the Sun, who stand against the Cain of Darkness", is placed in the category of contrasting relationships. This relationship means the difference between the elements in the work in terms of position, orientation, and attraction of the elements to each other. This poster conveys to the audience the concept of good and evil in the confrontation between Iran and its enemies. The poster "I am a revolutionary" belongs to the category of analogical relations. Analogical relations compare the relationship between the elements in the text or narrate the artwork that in this announcement, due to the replacement of the fisted hands form on parts of the letters, an analogical connection arises in the mind. In the poster "The ax was from our family, we didn't know", comparative relations are strengthened due to the relations of paradigmatic of the ax instead of one of the branches of the tree and also the existence of conflict between the two. In the analysis based on the syntagmatic axis, relationships are divided into three categories: spatial relationships, sequential relationships, and conceptual relationships. The "Happy the 40th Spring of the Revolution" poster is placed in the axis of syntagmatic signs due to the juxtaposition of visual elements, and due to the placement of different components and elements in the image, it is placed in the category of spatial relations in the axis of spatial syntagmatic of signs, because spatial relationships mean the placement of the components and elements of the work in different axes of the image. The "Unity is the Code of Victory" poster is also placed in the axis of syntagmatic due to the juxtaposition of different components of the image in the poster, and according to the definition of sequential relationships, due to the placement of elements based on the alternation of the theme of the work and the creation of meaningful relationships with each other, it is in the category of sequential relationships. The poster "Iranian lion spills the blood of every hyena of disbelief", due to the juxtaposition of two images of lion and hyena, as well as the way the elements are placed and their proximity and the type of reading, is placed in the category of conceptual relations in the axis of syntagmatic of signs; conceptual relationships mean the reading of images and elements in them as well as the type of their relationship with each other. In all the works, when a visual sign metaphorically expresses the concept of revolution and Iran, understanding the meaning of the sign occurs on the axis of paradigmatic.

Since the beginning of philosophical discussions in the field of art, there have been extensive discussions about its definition, philosophy and function; for instance, regarding the work of art, "formalists use the word poet in the general sense of an artist, based on a long-standing tradition that has its roots in the debates of Plato and Aristotle. Moreover, when they talk about poetry, they mean not only poetry, but also the work of art" ((Payandeh, 2017 A: 34). What connects these two fields together is the process of creation (Poiesis) and construction. These discussions, which continue to these days, entered newer fields in the 20th century in the process of texts reading. With the establishment of the Center for Contemporary Cultural Studies of the University of Birmingham in 1964 and the foundation of cultural studies, the scope of literary studies and especially critical studies expanded and included a wide range of texts in addition to various semiotic systems, in such a way that there was no longer a difference between verbal and visual texts. The result of such approaches to text led to the expansion of interdisciplinary studies, including comparative studies of art and literature; two sign systems that are connected in different cultures have different ancient histories. The connection between writing and image in Iranian-Islamic culture also has a long history. The illustration of written texts, including Ferdowsi's Shahnameh, in the flourishing periods of Iranian art, especially Tabriz I and II, Isfahan, and even the early Qajar period indicates a deep connection between literature and, especially, Persian poetry with visual arts; it is rare to find an illustrated version that is not decorated with poems by famous Iranian poets. The comparative study of the works of these two sign systems can help to understand the implied meaning of the texts.  

In this article, a comparative study of a selection of poems and posters of resistance is carried out with the semiotics approach of Michael Riffaterre, in order to determine how the works of these two fields are linked together and how the texts of these two fields present common concepts with different expressive tools. According to Riffaterre, "every poem has a single idea that is expressed in several different ways in its text." (Riffaterre, quoted by Payandeh, 2017A: 21) This single idea, which is the central and main matrix of the poem, is expressed in different and sometimes seemingly contradictory terms in the poetic text. The central idea or the matrix of the poem organizes the entire text and frees it from fragmentation.This research is a descriptive-analytical research whose data is collected via library sources and the method of data analysis is qualitative. In this research, for the comparative and semiotic study of resistance poems and posters, works of contemporary Iranian poets and designers were selected in a purposeful way; in the sense that, firstly, samples were selected that fulfill the research objectives, and secondly, the selected samples from the two fields of poetry and poster have common themes.

In this section, three examples of resistance poems were compared with three examples of resistance posters as follows:  3.1. Case study One of the important themes in resistance art is the issue of Palestine and the freedom of Quds Sharif, which has always been the concern of contemporary Iranian artists. Amiri Firouzkohi, in an ode titled "O Vatan", considers the conquest of Quds, and gave good news to the zealous youth of the homeland for its freedom, calling it Fatah al-Fatuh. Majid Qaderi also depicted the enclosure of this holy place in a poster titled "Quds". In these two visual and verbal texts, the designer and the poet have a common goal; both of them focus on a single matrix, but they have chosen different methods and expressions; since the different mechanism of meaning creation in the poem and the poster requires that different elements be chosen to strengthen the single matrix. Case study Another issue that artists in the field of resistance have always paid attention to is the issue of war and sacred defense. "A poem for war" is the title of a piece by Qaiser Aminpour, in which he has depicted the resistance and standing of the people against the enemies, despite the blows that have been inflicted. Ali Vazirian also depicted warriors in the poster "Either conquest or Martyrdom" who resist the path of conquest until they reach the high position of martyrdom. Vazirian's poster can be considered equivalent and visual translation of Aminpour's poem; it is as if the designer has illustrated the poet's expressions. Both texts depict the same matrix, although they use different signs. Case study Another subject that resistance artists have always paid attention to is patriotism. Nasrullah Mardani has depicted the height of the warriors' patriotism in a poem entitled "Habil-E- Aftab" from the collection of Blood letter of soil. Ali Mostafavi has also depicted the sacrifice of Hajj Qasim in defending the borders of the Islamic homeland in a poster he designed for the special poster section of the 6th World Resistance Art Festival with the theme of martyr Haj Qasim Soleimani. Like the previous examples, the matrix of Mardani's poem and Mostafavi's poster have a single concept, which is the sacrifice of the soldiers of the homeland to protect Iran's borders. These two texts, which are translations of each other, have shown a single idea with different signs.

Every text - written or visual - expresses a single idea, which is called the "Matrix" of text according to Riffaterre, while other elements strengthen this matrix. The semiotic analysis of texts from the two fields of poetry and poster design showed that the concerns of poets and graphic designers, which is the matrix of their texts, are common and their means of expression are different. The origin of the poetry of some contemporary poets such as Amiri Firouzkohi, Aminpour and Mardani refers to concepts such as the conquest of Ghods, resistance and patriotism, which are expressed in words. On the other hand, designers such as Ghudarzi, Vazirian and Mostafavi have expressed the same concepts using visual symbols. The most important tool of the poet to cultivate the poetic matrix is words and figures of speech to strengthen the implied angles of the matrix from a semantic point of view. On the other hand, the graphic designer strengthens the central matrix of the poster by using symbolism, elements and visual qualities such as color and composition. From another point of view, the comparative study of examples of poetry and graphics showed that the artist - whether a poet or a graphic designer - is not indifferent to the oppression of the world around him and is concerned about the struggle. The oppressions that is inflicted on the oppressed in different societies always acts as a motivation for the creation of works of art. The sharing of themes in selected samples of poetry and graphics proved the validity of this claim.

Resistance literature is an important genre of literature that includes poetry, fiction, drama, and so on. Resistance literature communicates themes on human reactions to circumstances arising in their sociopolitical life, prompting them to take a stand.The present study aims to introduce and evaluate components in the history of Kerman literature during the Qajar era, concurrent with the start of the Constitutional Revolution, based on the concepts and definitions of resistance literature and centered on the thoughts and ideas of Mirza Agha Khan Kermani as one of its most famous advocates. Given his life and works, he can be called a poet, author, historian, intellectual, militant, and a political, social, and literary critic and journalist. Thus, he is a prominent literary, political, and social polymath.Mirza Agha Khan’s main line of thought and method in his numerous works express a particular policy line, struggle, and resistance on the path of great ideals such as freedom, raising awareness, anti-authoritarianism, nationalism, and political, social, and literary commitment. Although certain criticism can be directed at some of his thoughts, ideas, and method of expression, the significance of his honest articulation and militant spirit based on his perception of the cultural, social, and political conditions that his time required of him cannot be disregarded. In this context, he can be placed among the prominent authors of resistance literature in the contemporary era.A range of concepts and components pertaining to resistance literature can be found in the works of Mirza Agha Khan Kermani. Of these, the three components of committed literature, nationalism, and anti-authoritarianism feature on the higher echelonsinhis works as the most significant components of resistance. Hence, the main research question is asked as follows:What are the components of resistance literature in the works of Mirza Agha Khan Kermani?To answer the main question, three secondary questions also arise, as follows:How didcommitted literature emerge in the works of Mirza Agha Khan Kermani?What position does nationalism hold in the works of Mirza Agha Khan Kermani?What position does anti-authoritarianism hold in the works of Mirza Agha Khan Kermani?

The descriptive-analytical method has been used to conduct this theoretical research. Data was collected using the library research method and analyzed qualitatively. The entire collection of poetry and prose by Mirza Agha Khan Kermani used in this research is available in print and manuscript.

 3.1. Committed literature Apart from his sociopolitical personality and persistent struggles against Qajar rule, Mirza Agha Khan Kermani is also a poet and literary critic. Ketab-e Rezvan (Rezvan's Book) and the verse epic Nāmeh-ye Bāstān [Letter of Antiquity] provided him with an exclusive literary status among the authors and poets of the constitutional era. The mission of the pen from the viewpoint of Mirza Agha Khan goes beyond morality and self-refinement. Inspired by Seyed Jamal Eddin Asadabadi who sees underdeveloped countries as being more in need of their penmen, Mirza Agha Khan names the inability to provide their primary needs as one of the reasons for their underdevelopment. He believes that literature is on a mission and must share in the happiness and dejection of nations. He conducts a comparison on this subject between the West and Iran and states that Westerners have perfected poetry while Iranians have used it as a tool for begging, exaggeration, idle talk, and nonsensical panegyrics and satire. 3.2. Patriotism and nationalism Another important aspect in the dialectic of Mirza Agha Khan Kermani is patriotism and nationalism. This is a significant manifestation of committed literature in his works. His boundless love for Iran and everything Iranian, as well as his abhorrence for anything that, in his view, endangers the homeland can be seen in every aspect of his thinking. Mirza Agha Khan can be seen as a passionate nationalist who endeavors to revive Iran’s lost glory based on surviving documents from its past. By relying on the new ideas of his time about factors leading to progress and the backwardness of a nation, he sought a culprit to justify the deplorable state of Iran in those days. His love for Iran is so strong that he has managed to exaggerate the causes of its backwardness and its culprits. But none of this can negate his pure compassion and interest in Iran and Iranians. 3.3. Anti-authoritarianism Mirza Agha Khan has defined words and concepts such as “despot”, “revolution”, and “patriot” in his works to mention the concepts of oppression, authoritarianism, and tyrant. Although these definitions are similar to those at the beginning of the book Maktubat by Mirza Fatali Akhundzadeh, they are still a sign of his attention and familiarity with such topics. The main criticism by Mirza Agha Khan of authoritarian regimes is that kings do not know the real meaning of governance and are oblivious to global developments in this respect. He believes that the perception of Iranian rulers of the politics of their day is superficial and unrealistic.

Committed literature, nationalism, and anti-authoritarianism are some of the most important aspects of resistance literature which can be seen in the works of Mirza Agha Khan Kermani. Aside from being one of the main designers of constitutional literature in Iran as a progressive and critical literature bearing the exclusive features of resistance literature, Mirza Agha Khan Kermani has always believed in the mission of the pen and literature in raising awareness in society and has used his pen as a tool for militancy. By considering the differences between the patriotism and nationalism found in the works of Mirza Agha Khan Kermani, it must also be noted that he was in love with Iran and everything Iranian. He is among the first architects of Iranian identity and nationality in the new era and his nationalism is evident in his various works. Anti-authoritarianism must be considered the most important component of resistance in the works of Mirza Agha Khan Kermani. His attention to words and expressions such as despot, revolution, and patriot indicate his familiarity and sensitivity towards these topics. In his view, all the Iranian governments from the beginning of history, even the governments of ancient Iran, were despots and authoritarians, and none have ever thought that there exists another way to govern apart from
this method.

Memoir is very close to story and sometimes it can be turned into a story by the least attention to the text of the memoir. The most obvious common feature of these two forms, apart from the story elements, is the presence of narration. "Narrative-ness of a narrative text is created under the influence of factors such as: plot coherence, development of the main action, atmosphere creation, characterization, etc.
Memoir-story is one of the emerging forms in the genre of resistance literature and due to the presence of many cause and effect developments, it is closer to the story than the memoir and has many elements of the story other than imagination. In this research, it is intended to examine the aspects of narrative and structure in the two forms of story and memoir-story, and explain their commonalities and differences.

The current research is carried on through a descriptive-analytical method and has used library resources. Based on the question of the border between story and memoir-story, the author first collected the theoretical sources of the research and then verified his claims by analyzing the textual examples.

The problem of the present research is based on the issue that although memoir-story is based on memory, elements such as suspense, multiple episodes, characterization, and landscape have made it very close to the story. Also, the study of the narrative infrastructures of memoir and story shows that these two forms, in addition to sharing elements, have another aspect in common, and that is the structure of the narrative action based on a formulated description of past events: "today-here", narrating "that day-there". Based on scientific evidence, the author proves that there are many narrative differences between the two forms of story and memoir-story. In fact, the purpose of the current research is to explain the distinctions and define the border between the two forms of story and memoir-story by relying on several works of fiction and memoir-story in the literature of Holy Defense, and the author tries to explain categories such as narrative action, narrative levels, place and type, narrator, and narrative distance in these two types. From the results of the research, it appears that there is a difference between the two forms of story and memoir-story in terms of narrative action, narrative distance, narrator's qualities and narrative levels.

The first achievement of the current study is that the narrative action in the story consists of four simple-to-advanced narrative models and has three levels: the outside world, the world of the literary work, and the world of the story, with each of these levels including a range of characters, elements and categories. Here in the story, one faces intertwinements that organize the vast narrative network; in the memoir-story, however, one faces the simplest action of a first-class narrative, because the author and the narrator are the same person, and he is reporting to what he has experienced in the past. Another achievement of the current study is that the narrator in the story is different from the memoir-story in terms of type and position. The narrator in the story is not the author; he/she is created by the mind of the author of the story, and is different from the author in terms of sex and class; in the memoir-story, the narrator is the same author who narrates the narrative of that day-there. There are many narrators in the story, but in the memoir-story, the narrator is only a monologist. Another achievement of the current research is that the co-narrator and the memoir-story have a narrative distance, i.e., there is a time gap between the time of the incident and the time of its narration; this distance; however, is variable in story from being close to far infinite. Since the reality and the identity of the narrator is the same as the author in the memoir-story, he lives as long as the author lives.

Literature is one of the most important fields that has a completely two-faceted face in influencing and being influenced by social phenomena. Events such as war have been shown in many literary texts of different nations, and writers and poets have reacted with a sympathetic attitude to the nation's resistance or protest against the beginning and continuation of the war. From the total literature of a country, there are stories or poems that can be classified as military fiction based on the subject. This type of literature often occurs during a war whose history has also passed" (Hanif, 2009: 293). Looking at the poetry of the Islamic revolution in Iran, it can be determined that after the end of the eight-year war and the country's entry into the atmosphere of general reconstruction, art and literature also experienced a new stage and new conditions (Kafi, 2005: 185-187). At the macro level, naming events such as war has a meaningful relationship with the quality and strength of nations in facing hardships and victories and preserving national identity. While war as a part of human life is a platform for the creation of artwork and it cannot be considered apart from the flow of life. On the other hand, with the change of generational objects, the methods of transferring concepts and ideas also change. One of the ways to investigate and analyze the change in discourses and approaches in the transfer of thought is "descriptive analysis" of the works published today for the current generation. Unlike the "Historical" method, this descriptive method does not pay attention to the evolution of the literary work throughout history, but tries to describe the functional angles of the work based on linguistic actions.

In this article, the poem "Tehran, Tehran" written by "Andisheh Fooladvand" in the collection "Shoot Buddy" (2013) is analyzed with a descriptive analytical method and from the perspective of "cognitive discourse". In this approach, the relationship between discourse, conversation and cognition, that is, the relationship between textual discourse structure on the one hand and the mental activities of processing, storing and retrieving information on the other hand, is described by using discourse knowledge and "cognitive applied science" analysis.

In order to introduce the metaphorical context of the poem "Tehran, Tehran", we discussed how concepts such as patriotism, war, resistance, etc. are constructed in the field of sustainable literature. The purpose of this study is to show the capacities of text representation in the discourse of the participants in the discourse. A discourse that has been from the first generation of revolution and war and is considered a narrator of contemporary historical events.Following Chief (1994), Tomlin and others (1997) relied on a kind of epistemology of dialogue by raising the issue of conversational discourse. which deals with the study of linguistic realms, existence, dimensions of knowledge and human linguistic capacities to control the flow of information and understand the truth of the world. Diane Pontrotto, (2013) in an article titled "Cohesive role of cognitive metaphor in conversational discourse" pointed out the speaker's ability to control the flow of information at four levels. According to Tomlin and Pontrotto, the conversation and flow of information exchange is placed in the field of cognition. In other words, the concepts during the production and reception of conversational discourse are based on mutual understanding (going back and forth) that appear in the four levels of information flow. These four levels are 1. Rhetorical level, 2. Referential level, 3. Thematic level, 4. Focus level. In these four levels, the narrator (poet) uses hidden correspondences in language to create ontological concepts and intellectual knowledge with the audience (Pontroto, 2010: 335-335). His goal is not the mere significations of "in time", in other words, he does not simply refer to the generational relations and values of his time, but rather speaks of a category that has an active and fruitful member in the context of the audience's society. Because he knows that the reduction of verbal communication causes a disruption in the identification process, a reduction in emotional commonalities, a lack of commitment to one's own culture, and generational intolerance (Sharfi, 2003:112).

The social world is a product of discourses, and every discourse is trying to establish its meanings; Which signifier wins depends on the signifiers that are used in various discourses. The analysis and analysis of Tehran's poetry with the approach of conversational discourse shows that "Foolavand" has created a two-way interaction of metaphorical and musical concepts due to the appropriate use of natural language and the right knowledge of the way of knowing and talking for the third generation discourse and has produced stable hegemony by advancing certain signs. The narrator of the poem, who has understood the period of eight years of stability, as a representative of a generation that has sent its childhood to "quarantine", understanding the social context of today's society, he speaks knowingly about the troubles of the age, including chaos, doubt and crisis, smoke and prosperity, etc., to make the audience agree with him. By expressing these signs in the social context of the poem, he takes the reader to the artistic context so that all generations who are in a new discourse space, have the same ideals as the first generation. Linguistic signs in the use of spoken language, such as: There, the question, I know, etc., have distinguished poetry from the formal context of language. Using music, imagery, rhyme and tone, the poet has brought the style of today's discourse to the stage in order to create the audience's connection for discourse empathy.

As a result of the revolution and the war, Persian poetry underwent changes that mainly occurred in the field of meaning and themes. However, also in the field of images, the poetry of these poets has differences compared to the poetry before the revolution. In this research, the authors investigate the influence of the Islamic Revolution and war on the change of the network of images in Nimai's poetry by examining the imagery of Nimai's poetry after the revolution and its constituent elements.

The current research was done with a descriptive-analytical approach and library method. In this method, the researcher, in addition to familiarizing himself with the research problem, describes and explains the reasons for how and why the situation of the problem and its dimensions.

In Nimai's poems of revolution poets, since message delivery is the priority, the use of imagery is more limited. On the other hand, the imagery used in Nimai's poem of the Revolution is more at the service of thought than it wants to be considered an independent thing that creativity revolves around.One of the obvious characteristics in the depictions of revolution and war literature is its simplicity and transparency. The requirement of the principles of rhetoric was that in these poems, images and artistic structures are used so that their meaning can be understood quickly and easily; Because the audience of this type of poetry were ordinary people. Also, another feature of Nimai's poetry has a faint presence in the new poems of the poets of the revolution, and that is poetic ambiguity and the possibility of multiple meanings in the poem.One of the other basic features in Nimai's poem of the revolution is the lack of elements of romantic imagery in it. It seems that the social-political excitements and the war-torn atmosphere of those years in those years did not allow romance.In their imagery, poets of the revolution use new issues and themes in the content of their imageries, which has a significant frequency in their images. These new elements include the following: 1. Elements related to light and illumination: The event of the revolution in the eyes of the poets was like the sunrise and the morning that happened after a cold night; 2. Elements related to growth: In the opinion of the revolutionary poets, the Islamic Revolution was a harbinger of growth and a season of prosperity. 3. The everyday issues of the lower classes: In the depictions of these poets, we see elements that exist in the lives of the deprived classes of the society. 4. Religious elements: Religious elements play a significant role in the images of poets of the revolution. 5. War: the revolutionary poets' addressing of war introduced new themes and images into Persian poetry.Another issue that should be paid attention to when examining poetic images is the issue of color and the poet's use of this element. In the reviewed collections, there is a perfect harmony between the frequency of the colors used and the elements of illustration that we have already mentioned.

Imagery, as one of the most important elements of poetry in Nimai's poetry of the revolution, has had different appearances than before. The poet uses poetic and rhetorical artistic device forms in a way that is familiar to the audience. Images, along with the literary and aesthetic aspect, mainly serve ideological ideas and thoughts. The image-creating elements in these poems have often undergone changes under the influence of the atmosphere of the same era. Finally, it should be said that the influence of the Islamic revolution on Nimai's poetry can be traced in addition to changing the topics and themes of the poems in the field of Imagery, and this issue indicates that the revolutions and socio-political events that cause changes in the styles and types of poetry, only affect the content field of the poems. They do not change, but they also make fundamental changes in the images and the chain of images.

Resistance literature is rooted in history. Wherever there is oppression, literature of resistance has sprouted in the form of one of the literary types. In Iran, this literature has always received attention, and, especially after the victory of the Islamic Revolution in 1357, and during the eight-year war with the neighboring country, it increased and was favored by Iranians.Although prison literature, as a type of the subset of resistance literature, ows part of its existence  to the prisons of the Pahlavi regime, its colorful and main part was born in the prisons of Iraq. The letters exchanged between Iranian war-prisoners and their families are part of this captivity literature.For Iranian prisoners, who were in captivity from two to ten years, there was no other way of communication than the two special letters delivered to them at the beginning or end of each month, or sometimes every two to three months. Once given to them. Obviously, in those few pages, a prisoner had to share important information with his family and write about his situation, and, in return, the family of the prisoner had to write back about the life of the family, the city and the country, and their friends to reduce the pain of his exile. In such limited and difficult conditions, and in such a small space of writing, half of which should be left empty for the recipient of the letter, a stream of literature-in-captivity was formed and those few pages were able to record a large part of prison-literature."From the beginning of 1359, when the first letters of Iranian prisoners of the Iran-Iraq war were received by their families, until August 1369, when the great exchange of prisoners began, within these ten years, that is, from the beginning of the war to the great freedom, we in the Office of the Missing Soldiers and Prisoners of War, exchanged about six million letters from both sides, and this was when almost half of our 40,000 prisoners were registered, and we learned about the presence of the rest of the prisoners in captivity only when they were released. And these letters were exchanged under the strictest limitations and different excuses of the Iraqis" (Afraz, 2019).The history of letter writing in Iran dates back to the Achaemenid period; at that time, words were written in cuneiform on the tanned skin of animals, and the skin was given to a chapar (mailman/messenger) to carry it to its destination. Of course, in the BCE history, writing was not used except in government offices and courts. 1800 years ago, when paper was made by the Chinese, letter writing on paper and book writing appeared, and letter writing became much easier (cf.: Amini, 1379: 43). In the history of Herodotus it is stated: "Harpak wrote a letter to Cyrus and encouraged him to fight with Astyaks (Korush's maternal grandfather) and in order for the letter to easily pass through the Medes and reach Persia, Harpak put it in the belly of a rabbit. He hid it and a letter carrier in hunter's clothes was able to deliver it to Cyrus. In the Torah, a letter and a decree from Cyrus about rebuilding the building of Jerusalem - which was destroyed by the Chaldean victory - is mentioned" (ibid.).The oldest work in Pahlavi language on the art of corresponndence is the small letter "Ayin Nama-Novisi". "This book contains special examples of correspondence in various cases and to various people. This text has forty-five paragraphs, each of which presents different methods in letter writing style. The first paragraph is an introduction in the description of those to whom the letter is written. In other paragraphs, the way of writing different types of praise, address, heading and title of a letter, sympathy and consolation, and how to start and finish a letter are mentioned (Mehdizadeh, 2012).

In 1387, the author of the present study took part in the national plan for collecting letters from Iranian ex-prisoners of war carried out by the Office of Resistance Literature and Art in Hozeh Honari, and collected more than 1500 letters from Kerman province; nearly 8000 letters by prisoners from other provinces was also collected and effort was made to determine those letters with coded messeges. The research method in this study is mainly based on analyzing collected letters, and memoirs of the ex-prisoners.

The contents expressed in the prisoners' letters were important and sometimes included war secrets, that is why it was tried to express these contents in code and in literary language, and these codes were revealed only between the writer and the reader.One type of literary arrangement that the writers of letters have used a lot to express secret content was simile, because the simile was understood only by the reader and the writer, and others did not know about it.Another type of literary figure that is used to express secret content in prisoners' letters is metaphor. Metaphor has been defined as "the use of a word in its non-real meaning along with the interest of similarity between the real and figurative meaning and the analogy that prevents the will of the real meaning. In fact, metaphor is a type of lexical permission whose interest is similarity, and sometimes it is interpreted as "metaphorical permission". For example, someone who has seen a brave man in school says “I saw a lion in school.” Lion hasbeen used in the meaning of a brave man, and the speaker actually has seen a similarity between the vehicl (lion) and its tenor (brave man), and has established communication (Hashmi, 2011: 1/258).Sometimes, in the structure of some letters, especially coded letters, an equivoque was used to express the purpose; the writers could use it, hidden from the eyes of the enemy, to explain things to their audience in a coded manner in order for the secret content about the war to be protected and the desired messages to be transmitted easily. Equivoque is the use a word with more than one meaning in poetry and prose, some of whose meanings are close to the mind, and some are detached.In captivity, to have a photo of Imam Khomeini or the officials of the Islamic Republic was considered as a crime. Correspondence with these people also had bad consequences for the prisoner, and if the enemy noticed a letter written by a prisoner, his first impression was that the writer of the letter was probably a prominent soldier who had been hiding his rank. Therefore, some prisoners accepted the risk and started writing letters with tricks such as using code words instead of the name of the official. During the years of captivity, some of the prisoners, as mentioned, wrote letters to the officials of the Islamic Republic and received answers. Imam Khomeini, may God bless him and grant him peace, Mr. Khamenei, Rafsanjani, Meshkini and some other officials were among the people who answered the letters of the prisoners, and these answers encouraged and created morale among the prisoners.One of the most important issues that had to be expressed in code language was the communication of war news and secrets. If these news were revealed to the enemy, it would result in the worst torture for the prisoners, and on the other hand, it would cause their army's plan to be turned upside down and lead to their defeat.

Coded letters showed that: 1. Literary language can be most useful in expressing content and news when necessary. 2. Forcing prisoners to write coded letters reveals the dire conditions of captivity and the filth of the Baathist regime and the hypocrites. 3. In secret letters, simile has been used the most because of its simplicity and its familiarity for the author and the reader, and equivoque has had the least use in these types of letters due to its ambiguity for the reader. 4. The simplicity and intimacy of the letters and the fact that most of them are devoid of literary language indicate the level of literacy of the letter writers at the high school level. 5. Most of the topics and content of the encrypted letters followed the same line, including issues such as politics, mentioning the names of the officials of the army, Basij and Sepah, family news, war secrets, and the pains of exile.The most repeated subject was mentioning the names of the officials of the Islamic Republic, especially Imam Khomeini. 6. Much of the sensitive content of the news and war secrets has been conveyed through pun, which shows the utmost cleverness of the Iranian prisoners. Contrary to the opinnion of some people who interpret literature based only on the scale of pleasure, these could confuirm the practicality of literature.

It must be said that in the transformation of stories and history and even the war events that have occurred in recent years, semantic horizons in a wide and coherent network can be transformed and reproduced at all levels of language, body movements, and even sound and music. This means that any work can continue to exist at any time. Linda Hutcheon is one of the theorists who mentioned this term for the first time in the book "Theory of Adaptation". She believes that all stories, when reproduced in another culture and language in a time and place, can be institutionalized and localized in order to be adapted to all the conditions and ideology of the author. On the other hand, the phenomenon of revolution is one of the historical events that has a special place in the literature of sustainability. The phenomenon of revolution has a long history, and in the same way, the analysis of why and how it happened has existed since the past, especially since the second half of the 19th century. These events are like an opportunity given to the heroes to consider a path to continue their lives through the lens of political and social changes after the revolution. The Iranian revolution was formed by the rebellion of the weak class against the government. A revolution that included a populist ideology. The following questions will be answered in this study:Considering the role of irony in the dominant language of the characters in the story, what structure has the author used for the ironic style of the story? ,For what purpose does the author use "Kyokushin" techniques as a symbol of a historical moment?Sustainability literature as a literary genre, in the form of poems by poets such as Farrokhi Yazdi, Allameh Dehkhoda and Nasim Shomal, was formed during the constitutional period and spread widely in the following periods. The dominant method of narration in this literary genre is based on the concepts of resistance, sacrifice, hope, martyrdom and worship, tyranny and salvation. As a writer and theorist of the contemporary century, Linda Hutcheon has pointed out the basics of adaptation, irony in the text and also the methods of postmodernism in the novel in her works such as "Theory of Adaptation", "Irony Margin" and "Postmodern Policies". This research aims to examine a different face of war that Mehdi Yazdani Khorram has shown in the story "Red and White", with the approach of Linda Hutcheon's theories, in parallel with the real history of the Islamic Revolution and the struggles before and after it.Among the articles written about Hutcheon's opinions and also the theory of adaptation, the article "Historic metafiction; Case study: A lizard that swallowed the moon" Pirouz et al. There is another research called "From Arash Asatiri-Tarikhi to Arash Barkhani by Baizai" written by Taheri and Nobakht (2016), Nama Farhangistan, in which the authors examine the interpretation and re-creation of Beizai's "Arash Khani" text using the theory of historiographical metafiction. "Linda Hutcheon" have discussed and in the end they have come to the conclusion that the original narrative has been broken and a new narrative has been reproduced. But in terms of historiographical metafiction, we can refer to the article "Classification of metafictional elements with a focus on the short circuit and the author's communication triangle" written by Dezhban and Bagheri (2016), a literary research text that the authors in this research while examining metafiction and metafictional theories, have reviewed the characteristics of short circuit and have presented a new classification of metaphysics by providing evidence. 

This research method in the research, on the one hand, has dealt with the topic of examining the components in different historical fields and on the other hand, with the experience and compilation of different historical stages about the 1357 revolution, and in order to design a conceptual problem in a scientific field, the method of content analysis is used. The basis of Hacheon's theories has been used.

Historiography metafiction is another form of history representation that is one of the first narrative values in the contemporary century. Therefore, the past is something that must be dealt with, and such a confrontation includes acknowledging its limitations as well as its power. We receive history through witness testimony and other archival materials. In other words, we only have representations of the past from which narratives or historical explanations can be constructed. In fact, postmodernism reveals the tendency to understand current culture as a product of previous representations. The representation of history becomes the history of representation. It means that postmodern art accepts the challenge of tradition and acknowledges that representation cannot be escaped, but it can be exploited and criticized through irony and irony as well as the author's imagination. In fact, most of these claims about metafiction can be the mission of an author's experience and knowledge. The author can be self-aware of the structures of realism as well as his personal imagination to portray a narrative objectively and with expressive language in order to make the authority of the storyteller tangible to the audience with a solid body and final ending. The characters in metafiction are transformed from real and historical to structural human beings and the result of the author's mind. In fact, metafiction portrays the concept of narrative and story in the way of confrontation between creation and dissolution of the author's imagination. Such a strategy in any narrative can confuse and confuse the reader, because it does not provide solid documentation, but everything is formed in an incoherent structure and the result of imagination and reality. The combination of historical characters with fictional characters and uncertainty in the "red and white" superstition. The metafiction of "Red and White" is a narrative that, by placing random events, seeks to create a temporary thing and a sense of chaos. The author of this story is distinguished from other writers because of the exact relationship between the verbal world of the narrative and the world of everyday life that has been created during the story. Undoubtedly, one of the elements of a historiographical superstition is the presence of historical figures alongside fictional characters created in the author's mind. The false storytelling of a historical writer takes the form of a documentary by bringing real spaces and characters, and this is what inspires the reader with the true identity of the heroes. "The status of fictional characters, like linguistic signs, is the status of absence. To be or not to be. There are no fictional characters, but we know who they are. We can point to them and discuss them" (Ibid: 132). The novel "Red and White" is full of fictional characters that are present in every sub-narrative, which at first glance seem unimportant, but with a little reflection, one can understand that the author can understand the influence of a huge segment of the society from the life of each character. It has exhibited a phenomenon. From the reader's point of view, these characters may seem abnormal and unrealistic; however, the author shows this abnormality to the audience in a completely normal way with his intelligence and harmony of their lives with historical events. The historical figures that Yazdani Khorram has used in the best way in the novel "Red and White" are people who have been placed in the margins of history and only their names remain in history. People like "Abbas Hoveida" whose only death is a turning point in the history after the revolution. In this book, the author describes the body of "Hoveida" with his obsessive detail. ,

The novel "Red and White" forces the audience to discover and intuition in a completely deliberate and technical way. While reading the book, every reader looks for heroes who are somehow related to the main hero of the story. Each section of the book that is dedicated to an opponent is full of sub-narratives that become attached to a character. The metasfiction of "Red White" is a balanced story between history and imagination. In the manner of an old storyteller, the author shows his desire to create imaginary realities and worlds created by his mind, with the help of detail in each part. Worlds that may attract any reader. In fact, the character of "33-year-old Kyokushin Kai" of Yazdani Khorram can be two dimensions of the author's character during the narration. The pristine and non-stereotyped images that he has created in every fight benefit from a completely realistic atmosphere. Sometimes people assume a mysterious state, such as the character of "Mohsen" in the 14th fight, who assumes himself as a rival to the hero of the story. But again, it is not possible to definitively predict the meaning of people's actions with a logical process. In the same way, the author's method for the journey of the audience's mind to history during the narration can be considered one of the elements of metafiction. The irony of the author's language in any situation originates from his critical view. He has used special words such as upright worker, spotted evil spirit, etc. for every situation that fits the characters. Therefore, it can be said that the purpose of the author in bringing such terms is to show the type of life of an individual in the society of that period. A society that has undergone huge changes after the Islamic revolution. The relationship between the people around the hero's character and the story space is a contractual relationship and subject to the rules of the author's mind. It is as if the author has targeted the realism and concreteness of the story by bringing this amount of narration and characters. In the end, it must be said that Yazdani Khorram is like an alchemist who, in his world of inspirations from dark and blood-soaked history, has drawn out a pure and popular writing that can attract any reader to his heroes.