کاوش نامه ادبیات تطبیقی
پیاپی 52 (زمستان 1402)

In the history of world culture, there has always been a deep connection between philosophy and literature. Later, with the emergence of philosophical schools such as nihilism, philosophical ideas played a central role in literature. Nihilism is an ideology that is usually associated with absolute negation; therefore, in it, the meaning of life, existence and being is lost. This philosophical school expanded significantly in the late 18th and early 19th centuries and entered various sciences. Nihilists look at the world around them with disgust and create the most unpleasant and undesirable images in their minds of life and the current world; In other words, nihilistic thoughts, which are associated with despair, hopelessness, separation from society and seclusion, cause a person to be separated from their real world and constantly complain about what is not acceptable and desirable in their isolation and besides complaining about the current situation, they should address the people of Dystopia, which is the opposite of Utopia. In general, the description of dystopia, which entered literary works from the 20th century, was aimed at criticizing the existing situation, describing disturbances, advising and warning about forgotten values, and drawing people's attention to the bad state of society; Therefore, in every work that has described the upside-down utopia (dystopia), they have tried to identify the utopia and ideal city.The present study has analyzed the poems of Simin Behbahani and Ghada Al-Samman with the descriptive-analytical method and based on the American school of comparative literature with the aim of showing the relationship between the philosophical school of nihilism and dystopia literature.Simin Behbahani and Ghada Al-Samman, who are considered to be the famous names of contemporary literature, have used poetry as a means of expressing their feelings and philosophical thoughts. Therefore, by emphasizing the elements such as emptiness, death thoughts, despair, sadness and pessimism, which the philosophy of nihilism is based on, they reflect an image of the undesired and dirty world around them in their poems, so to protest to what should be but is not. These unfavorable images are the same dystopia that is based on poverty, corruption, war, violence, injustice, discrimination, abnormality and irregularity. Since Simin Behbahani and Ghada Al-Samman have closely touched the problems, pains and sorrows of their society, they have turned to nihilistic thoughts because of the displeasure of the unfavorable political and social situation in their country and they consider life to be nothing and undesirable. This attitude and worldview comes to the fore with the creation of an upside-down utopia (dystopia) and the expression of the ugliness of society in their poetry. It seems that the most important factor in the depiction of dystopia in the poems of Simin and Ghada is the domination of nihilistic thoughts on their mind and consciousness and it also seems that the goal of these two poets is to reach a dreamy and ideal society that is free from injustice, gender inequality, war and violence, lack of freedom for all and disregard for values.Simin Behbahani and Ghada Al-Samman, in spite of the lack of communication and influence from each other, there is a great similarity between their nihilistic thoughts and dystopia. Both poets believe that injustice is the main foundation of dystopia and the biggest cause of the spread of poverty and classization of society, which leads the general public to despair and the society to ruin and destruction. Behbahani, who experienced the Iran-Iraq war, and Al-Samman, who closely experienced the Lebanese civil wars, have mentioned war and violence as a destructive factor in their poems, which leads to destruction and dystopia. Criticizing the lack of public freedom is one of the common features of Simin's and Ghada's poems. Because both poets believe that when freedom spreads among the general public, it follows the idealization of the society. Both poets with a feeling of despair and hopelessness of an unknown future have started to build an urban anti-utopia, where the limitations and problems of women, such as the lack of access to basic rights, lack of legal protection for women, gender inequality, patriarchy and lack of women's freedom and etc. are considered the most fundamental problems in this undesirable city. Also, in their poems, Simin and Ghada emphasize values such as humanity, kindness, honesty, non-racism, equality and non-arrogance; because both of them believe that ignoring the values and not paying attention to them will turn the society into a dystopia. Since Ghada al-Samman experienced many internal and external wars in his country and touched the limitations and problems of women in the Arab society, his nihilistic thoughts are deeper and more obvious than Simin Behbahani; for this reason, she tends to depict dystopia in layers of her poems. The purpose of both poets is to depict the upside-down utopia and express the ugliness and shortcomings of society, finding a way to eliminate these unpleasant features; In fact, they are trying to reach a dreamy and ideal city by expressing the dark corners of their society. In general, the anti-idealism of Simin and Ghada cities, in addition to revealing the political, social and cultural conditions governing their land, shows a wide range of personality and philosophical thoughts of these two poets.

Illustrating the countenances of renowned literary figures within the context of both native and national literatures is a prevalent literary trend that reflects the reciprocal connections between these literary traditions. In the realm of contemporary Arabic literature, the intersection with global literary expressions has paved the way for the emergence of distinguished poets and literary personalities. These individuals serve as conduits, translating the poetic endeavors of celebrated international poets into the domain of indigenous literature.The Romanticism movement is recognized as one of the foundational arenas for comparative literature on a global scale. Spanning the late 18th century and extending through the 19th century, it permeated all of Europe, capturing the interest of critics and writers alike. This era stimulated an inclination to assess various literatures and literary trends, fostering a spirit of comparison. Additionally, the Romantics displayed a fondness for exploration, venturing into distant lands and delving into historical depths. Consequently, this movement gave rise to a network of influence and reception within its scholarly domain.The trailblazers of the Romanticism movement in the Arab world, particularly in Lebanon, were exposed to French literature and the luminaries of French Romanticism during the period when French-language schools and educational institutions were active in Lebanon during the colonial era. Among these influential figures is Lamartine. Salah Labaki, captivated by Lamartine's persona, directly drew inspiration from him. In a poem titled "Lamartine," Labaki portrayed Lamartine's character and pivotal life events through a Romantic lens, thus expressing his own perspective on the subject. Given the evident influence of Salah Labaki from Lamartine, this research is conducted within the framework of the French school in comparative literature, where the research criterion involves not only resemblance but also the substantiation of the flow of influence and reception.The research necessity identified by the authors of this article pertains to the absence of a comprehensive and systematic examination of Salah Labaki's perspectives on Lamartine's character, as portrayed in the specified poem. The significance of this undertaking is heightened by Labaki's emergence at a pivotal juncture in contemporary Arabic literature, marking the inception of a literary school. The mentioned poem serves as a vivid representation of the influential impact of eminent European Romanticists like Lamartine in shaping the Arab Romanticism movement. The research approach adopted in this study is descriptive-analytical, and from a methodological standpoint, it aligns with the categorization of a comparative literature study, as elucidated in the theoretical foundations section of the research.The foundation for interpreting the studied work in this research centers on the acknowledgment that Salah Labaki has employed the events from Lamartine's life and character as a means to elucidate his own Romantic perspective. This serves the purpose of illustrating the fundamental resemblance between Labaki's worldview and that of Lamartine. Consequently, the current investigation applies the principles of the Romanticism school to analyze and delve into the examined text. Indeed, the aforementioned poem can be viewed as an outcome of Romanticism, a significant literary movement or school. It is crucial to note in this context that the influence exchange between the Romanticism school and Eastern lands operates in a bidirectional manner. For Lamartine, akin to other eminent Romanticists, these lands have perpetually served as wellsprings of inspiration, as the Orient appears to them as imaginative, mystical, and wondrous (Servat, 2003: 44), with diverse depictions of it present in European Romanticist texts.The poem "Lamartine" underscores the significant impact of one of the preeminent Romantic poets globally on contemporary Lebanese poetry, particularly in the works of Salah Labaki. Labaki, drawing inspiration from Lamartine's ideological perspectives, adopts a deeply reflective stance towards natural phenomena and human existence. His poetry deviates from the enumeration of moral virtues and traditional elegiac meanings.In this poem, Labaki's perspective on the enigmatic event of death closely mirrors Lamartine's ideological outlook. Within the Romanticist framework, death is perceived as a gateway to a transcendental and idealistic realm. Consequently, the conventional apprehension of death, a prevalent theme in traditional poetry, gives way in the poet's vision to optimism and a sense of surrender.In this poem, in alignment with the Romanticists' perspective, Salah Labaki attributes a sacred and divine significance to poets. He portrays Lamartine's character as a guide for the people, emphasizing the reformative role of Romantic ideology. Conversely, the realists, who oppose Romanticism, criticize Romanticists for being disconnected from reason and logic, accusing them of indulging in illusion and fantasy.Salah also imparts a spiritual and mythical dimension to the women who played roles in Lamartine's life, depicting them as his spiritual support on the journey of spiritual exploration and mystical ascent toward perfection. Through this approach, he somewhat rationalizes Lamartine's extramarital love affairs with his lover.According to Labaki, Lamartine's isolation and solitude stem from the Romantic belief that ordinary people fail to recognize the worth and dignity of geniuses. The Romanticists assert that only geniuses have the capacity to liberate individuals from blind imitation.Labaki's perspective on nature and natural occurrences in this poem aligns seamlessly with the views of other Romanticists, including Lamartine himself. The poet imbues the phenomena with the hues of his inner emotions and thoughts, establishing a connection with them. Within this worldview, natural phenomena deviate from their traditional representation in classical poetry, serving the purpose of conveying the poet's reflections and contemplations through the voice of the phenomena.

In contemporary world literature, many philosophical topics and abstract thoughts are presented in the form of story structureExamples of such stories are abundant in Persian and Arabic literature. In these stories, poets and writers have tried to present their specific intellectual issues to the audience. Sohrab Sepehri and Khalil Al Hawi are among the poets who have chosen the motif of travel in some of their poems. The poems of these two poets are influenced by their thoughts. In this research, the poem of the Mosafer by Sohrab Sepehari and the ode of Al-Bahar Va Al-Darwish by Khalil Al-Hawi have been analyzed in a descriptive-analytical way.This research was done by the method of comparative literature research and based on the American schoolAnd he has investigated the themes of two poems of Khalil Al-Hawi, a contemporary Arab poet, and Sohrab Sepehari, a contemporary poet of Persian literatureIn addition, an effort has been made to investigate the influence of the poet's philosophical and mystical thoughts on his poems. In this comparative study, the differences and similarities of the poems of two poets have been examined to determine that despite the common motif; What changes have the poetic themes and vocabulary accepted?Sohrab Sepehri is one of the poets of Persian language who is influenced by Eastern mysticism in his thoughtsSepehri's poems are an image of mystical beliefs and inspiration from nature. On the other hand, Khalil Al-Hawi has been influenced by European and Western philosophical thoughts. The signs of influence contained in it can be seen well in his poems. In this research, the poem of the Mosafer by Sohrab Sepehri and the ode of Al-Bahar Va Al-Darwish by Khalil Al-Hawi have been compared in a descriptive-analytical way. Although both poets have used the travel motif in their poems; But due to the difference in intellectual beliefs, there are many differences in the themes and lexical arrangement of the two poems. Sepehri's poem shows an image of a convergent and peaceful world; While Khalil Al-Hawi's poetry expresses negative and contradictory interpretations in the world.According to the results of this research, what has caused the difference in the themes of the poems of the two poets; The difference is in their intellectual point of view. Sepehri's poem shows the world where intellectual beliefs live peacefully together, While Khalil Al-Hawi's poetry has depicted the Western thinking as destructive and Eastern mysticism backward. The final result of this study shows that the intellectual basis of the poet; It greatly affects the lexical structure and themes of his poetry

Comparative literature is one of the masterpieces of literary criticism that measures the works, elements, styles, periods, movements and literary figures, and in general, compares literature in its general sense in two or more different cultures and languages. Writing love poems and the desire to write lyrical poetry is the result of love for the beloved in the presence of the lover and mixing it with his poetic imagination. If we want to recognize the history of the ghazal in the pre-Islamic periods, we can say: "The history of singing and singing ghazal goes back to ancient cultures; ; In Aryan cultures, we find signs of eloquent speakers, among which we can mention the charming and charming stories of "Orpheus", who was the poet of Rameshgar... or also in Greek ritual legends we find songs that the monks and followers of Bacchus sang in their self-defeats, These songs, which are inspired by Greek tragedies, are called "dithyrambs".. There is no doubt about it, that Arab ghazal is a continuation of one of the live and dynamic types of self-stirring poems and the romantic adaptations of camels. it is not in hand, On the other hand, it is not clear as a result of what factor and when and where the sonnet was created from the first to the seventh century AD and it was placed at the beginning of ode writing. But this point is clear that the ghazal was not an independent art in its original form, and it became an independent art from the Umayyad era, and after that there were poets who only dealt with the ghazal.Writing lyrical poems and romantic poems has been widespread not only in Persian and Arabic literature, but also in the literature of other nations of the world. Since Soad Sabah and Mastoureh Ardalan have a similar place in the culture of Kuwait and Iran, a comparative study of lyrical poetry of these two poets In order to get to know them more, it can be a new discussion in the field of comparative literature.Examining Ghazal as a dynamic poem in the poems of Soad Sabah and Mastoreh Ardalan is of great importance; Because this type of poetry plays a key role in the divans of these two women poets and contemporary writers. This research aims to analyze the lyrical poetry of Soad Sabah and Mastoureh Ardalan in a descriptive-analytical way and based on the American school, which does not consider the existence of influence and effectiveness between two poets as a condition of comparative literature. To compare the views of two poets in this context and to reach an approach of the two poets' way of thinking and consumption of ghazal.The results of this research show that:                        The lyrical poetry of Soad Sabah and Mastoureh Ardalan represents their literary and expressive style, and both poets have paid attention to the use of language tools and subtleties to express their romantic thoughts and feelings, and have tried to use them in different situations by selecting and Instead of using words, the arrangement should synchronize the audience with their opinion and feeling of happiness or sadness And that the concept of (love) is a prominent characteristic of the lyrical poetry of two talented poets of Persian and Arabic literature, namely Mastoreh Ardalan and Soad Sabah.Among the common characteristics and descriptions of love in the poems of Soad Sabah and Mastorah Ardalan, we can mention the connection, the abandonment and distance of the beloved, the virtues of love, the use of elegies, etc.In terms of language, two poets tend to be simple and eloquent; As they speak, they say poetry and they don't overdo it in the field of verbal and spiritual enhancements, and you can also see coherence in words and meaning, deep emotion and feeling in most of these poems, fluency, accuracy and catchiness in it. He named two poets as the general style of lyrical poetry.In the field of love, two poets have differences in terms of structure and content; For example, in terms of the quantity of Sanandji's romances, he is not equal to Soad Sabah.5. In the content of Mastorah poems, there is a kind of religious and moral commitment in all of them, the use of religious characters in poetry, mystical prayers and supplications, praise of the Prophet (pbuh) and the Ahl al-Bayt (peace be upon them). ), pride in hijab, chastity and practical commitment to it, etc., are all clear signs of his high Islamic spirit and religious approach, while such poems with such themes are not found in Soad Sabah's poems.The current research, while getting to know these two contemporary Arabic and Persian poets, tried to find examples and common features by analyzing the lyrical texts and comparing them. Considering the results obtained in the lyrical poetry of the two poets, we can point to common points such as (manifestation of the beloved, common characteristics of the lover and the beloved, desertion and distance, the virtues of love and affection, the use of elegies, etc.) did And also in terms of expression, the two poets tend to be simple and eloquent. It should be noted that the romances of the two poets have differences in terms of content, language and style, which have been examined in detail in the main text of the article.

The cubism or collage has been primarily used in visual arts, and then drastically influenced on literature, especially novels and poems. In collage poetry, incoherent, ambiguous, and apparently unrelated phrases are put aside to make, creating multiple centers instead of creating only one center. The centers can be unrelated. This kind of poetry moves in all directions. This literary school was welcome by some poets, especially by Arab and Iranian modernist poets such as Yadollah Royaei and Fatima Naoot. The poets utilized collage technique. Royaei specifically focuses on the form of poems, so he ignores the content to some extent, leading to some ambiguity. His stanzas are like a collage painting, all pieces taken from somewhere and got together. In her poems, Fatima Naoot also ignores the criteria used by other and applies other artistic techniques such as cinema and collage in her poems to better communicate meanings to the audience. Doing the comparison between the poems of these two figures regarding “collage” will help us discover the beauty and deep meanings hidden in their poems and understand the ambiguities of used concepts.

Many literates and critics have paid enough attention to the theme and features of Naoot and Royaei’s poems and some researchers have investigated different aspects of poems, but no comparative or independent research has examined their poems from collage perspective. So, this study tries to understand of the status, quality and quantity of the use of this technique in the poems of the two poets by examining and applying the art of collage and analyzing some examples from the works of the poets. It tried to show the frequency of components of collage. This way, it sees the quality and quantity of using the technique in the poems. Finally, it finds out the most frequent components of collage used by the poets to create their poetical images and thoughts.

Examining the components of collage in Naoot and Royaei’s poems, the study achieved the following results Among the primary characteristics of both poets is using the discontinuity of the contents of text and the disordered images. Accordingly, the focus is specifically on the form of poems, the result of which is putting aside the “content” of the poem and making it vague. The meaning becomes in this way hidden behind images. The use of this component of collage in Royaei’s poems is more frequent compared to its use in Naoot’s poems.Royaei and Naoot use beautifully the disordered images in their poetry. The structure of their poems is made of incongruous structures without logical connection. For creating poems, the poets destroy the logical connections between various things.Yadollah Royaei’s poems have the extraordinary visual-dramatic ability. Using some words and special forms of phrases, impose on the audience secondary emotional meanings in addition to their usual meaning. Naoot does not apply this component to her poems. Paradox and structural oppositions are other features of the poems of both poets. This technique makes their poems artistically ambiguous, and the audience ponder to understand the meaning. Using this component, both poets act like a collage painter.

The comparative analysis of the use “collage” style in the poems of Naoot and Royaei, specifically in “Noghra Isba’” and “Fowgh Kaf Imra” and “Sea Poems” and “Labrikhteha”, clearly showed that the content of both poets’ works orients around the discontinuity in parts the texts, lack of order in using images, and the structural paradoxes. The issues manifest collage component in poetry. Here, using some specific words and phrases, in addition to the conventional and usual meaning, the poets impose the emotional secondary meaning on the audience.

Water and fire are two categories that have long been used as symbols among different nations and cultures and have been respected by nations as two important elements of nature. These elements are considered holy, purified and pure symbols in many places. Therefore, for a better understanding and correct recognition of these signs and symbols, there must be a specific framework and method; One of these methods is the use of semiotic knowledge. Charles Sanders Peirce is one of the famous semioticians who presented a new way to understand signs. His semiotic system, unlike Saussure's, which is based on a binary model of the signifier and the signified, is a three-dimensional model consisting of representation, subject, and interpretation. In fact, it is with the connection of these three aspects that the main meaning of signs is obtained and the meaning hidden in the lower layers of the text is determined. On the other hand, after the Second World War, due to the inappropriate social and political atmosphere prevailing in Iran and the Arab countries, as well as the stagnation and decay in the society, many poets of the Persian language and the Arab world, in their poetry, turned to the use of symbols and the myths were inclined. In the meantime, Shafi'i Kodkeni and Adonis also used a lot of symbols in their poetry due to their full knowledge of literature and national and world heritage. In fact, Shafii Kodkani can be considered one of the most knowledgeable poets of Persian literature, who is fully aware of the situation of his time, and the use of symbols and myths in his poetry is considered one of his ways to express the disordered state of society. Adonis is also one of the most prominent contemporary Arab poets who has always tried to convey a new attitude to the audience in his poetry. He is a modern poet whose all efforts are aimed at getting rid of the past and looking to the future. For this reason, he turns to the world of symbols because he cannot clearly express his mentality in the petrified Arab society. On the other hand, the symbols of water and fire are considered to be one of the most frequent symbols in the poetry of these two poets due to their value and meaning in human life and their alignment with the fundamental thoughts and views of Shafii Kodkani and Adonis, and the reason for choosing these two symbols is also for analysis in this article, the special importance of these two symbols compared to other symbols in the poems of these two poets and also due to the closeness of the concepts of these two symbols and their great use in their poems.The present study tries to explore the layers of meaning and the function of the symbols of water and fire in the poems of Shafii Kodkani and Adonis in a descriptive-analytical and comparative manner and using the semiotic model of Pierce.  In this article, the researchers have tried to refer to different sources and use the library method to randomly select poems from the whole divan and tell the audience the invisible world of meanings hidden in the layers of the words water and fire. In order to get the implied meanings of these words, they have first considered the general atmosphere of the society mentioned by the two poets and then by examining the coexistence of other words and using the two sides mentioned in Peirce's theory, i.e. representation and subject, they have reached the third side and the final goal, which is the interpretation of the word.Shafii Kodkani and Adonis are among the great and contemporary poets of Persian and Arabic literature, whose poems have attracted the attention of many researchers and many researches have been done on their poems. But with the investigations that were done in reliable scientific databases, it seems that none of these researches were based on semiotic theories and this issue demanded that a semiotic-centered research be done on the poems of these two poets. Therefore, it can be said that no independent research based on semiotics has been done on the poems of these poets and only in some researches, some topics of semiotics have been briefly mentioned. Therefore, the difference between this research and the previous researches is that, firstly, only two symbols have been specially selected from among the symbols in the poems of these two poets to make the discussion more specific; The second difference is that this research analyzes the symbols in a comparative way in order to determine the commonalities and differences in meaning between the two poets. Another difference that can be pointed out is that in the present article, the symbols are examined based on Peirce's theory of semiotics in order to achieve the underlying layers of meaning in the mentioned symbols in a systematic way and in a specific framework. From the results of this research and the meanings that are obtained from the words water and fire in the poems of these two poets, we can refer to flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth and love and feelings mentioned.By examining the political, social and cultural conditions governing the society of two modernist poets, namely Shafii Kodkani and Adonis, it can be seen that in some moments of their poetic lives, due to the chaotic social and political atmosphere and the stagnation in the society, they symbols are used to express their thoughts in order to convey their constructive views to the audience and free people and society from ignorance and corruption and guide them towards modernization and progress. Among the signs, they use more natural symbols, and among natural symbols, they use more symbols that are in line with their thoughts and ideas. Therefore, they pay more attention to the symbols of water and fire, and these two words are among the most frequent words and signs in the poems of these two poets. In the current study, considering the semiotic model of Peirce in the function of water and fire symbols in the poems of the mentioned poets, it is concluded that the representation of water and fire, which is actually the signifier, is the phonetic image of the words and the meaning of the first signs. In fact, Shafi'i Kodkani and Adonis use these mental and vocal forms and abstract concepts such as flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth, love and feelings are expressed for the audience in a concrete and sensual way. Therefore, it can be said that these abstract concepts are the subject of Peirce's semiotics model, which is considered as the secondary meaning or the signifiers and semantic elements of words. In order to guide the audience from the primary meaning or the representation to the secondary meaning which is the subject and object, the poet draws the space of the poem in such a way that the reader can easily understand the function of these signs and to achieve the third side of Peirce's theory, which is the interpretation.

Considering the obvious similarities between the world of the novel and the social reality, among all literary works, sociological criticism focuses on the novel, which is natural. The great branch of sociology of the novel examines the way society is depicted in the novel. We can consider George Lukács as a pioneer in this method; from the beginning, he based the theory and sociology of his novel on the basis of Hegel's aesthetics. In the next stage, Lukács turned to Marxist theory and became the main founder of Marxist sociology as one of the most influential methods in the sociology of literature (Askari Hasankeloo, 2015: 21). In order to understand the depth of a literary work from the critics' point of view, it is necessary to review the reflection of the society's reality in the heart of the novel, and it is from this point of view that "Lukács, like Lucien Goldman, believes that the mentality of a novelist is formed under the influence of a certain social situation." (Goldman, 1992: 212). George Lukács formed the first unified system in the sociology of literature. Based on the close and dialectical connection between art and society, he based his analytical view on this field and based on some intellectual sources and scientific references, he emphasized that literature should never be separated from the evolutionary process of life (Lukács, 1994: 133-137). What Lukács believes is that the novel is not a 100% reflection of reality, but a reflection of it, and in his opinion, "literature is a small world that reflects the big world (the reality of the world)" (Shamisa, 2009: 291). With the emergence and gaining power of ISIS in the last decade, new themes were added to the field of contemporary fiction writing. The Arab countries' confrontation and war with ISIS also made its way into the field of fiction writing, and the result was the emergence of the ISIS lover Hajar Abdul Samad in Egypt and the lovers under the guillotine of ISIS Mahdi Ashtari in Iran; Therefore, this article aims to do a comparative study of the reflection of emerging events in two Persian and Arabic novels and examine the components of Lukács's sociological criticism in these two.This research relies on the descriptive-analytical method to examine the social criticism based on the theory of Lukács reflection in the Persian novel Lovers under the ISIS guillotine by Mahdi Ashtari and the ISIS lover Arabic novel by Hajar Abdul Samad, and for this purpose, considering the characteristics of both works, in The framework of the American school is placed in comparative literature because this school crosses ethnic and national borders and looks at literature as a general problem and overcomes the historical relationships and influence of the works and pays special attention to the aesthetic dimension of the text and the relationship of the literary work with other sciences. has it; Therefore, what is the criterion of action in this research is not the influence of two works, but rather the reflection of Lukács' theory of reflection and the components of social criticism subset in two novels.This research is a new step in the direction of investigating the role of society in literary work. Considering the new nature of the ISIS phenomenon, it is necessary to examine its reflection and sociological criticism in the fiction literature of Iran and Arab countries and since it is a new topic and has not been discussed so far, this article seeks to apply the Marxist theory of Lukács along with the sociological review and criticism of these two works and to consider the amount of reflection and reflection and commitment of the author of two novels in two different environments regarding the social issues of the day, the contradictions and contradictions in the society regarding the case of ISIS in the two novels. Therefore, this article seeks to achieve these two goals: Analytical review and sociological and literary criticism based on the theory of Lukács reflection and social realism in the novels Lovers Under the ISIS Guillotine and ISIS lover and the analysis of how these two writers have been able to show the contradictions and contradictions in the society by using social realism.This research, with the sociological and literary analysis of the novel, topics such as social realism and its sub-topics: terrorism, war and bloodshed, Salafism, various issues, problems and disorders of the countries at war with ISIS, Iraq and other Arab regions below. It shows the oppression of ISIS to some extent and has carefully examined the position of each of the authors regarding historical events and various political, cultural, intellectual and linguistic currents that have emerged in Arab countries.The comparison of these two novels has shown a new image of the novel in Iran and the Arab world and how they deal with the issues that affect the literary, cultural, national and social conditions of the Arab world during the era when terrorism, war and violence affect the world. has dominated, reflected and their characteristics and similarities and differences with each other are expressed in terms of their attention to social, literary and violence issues, and while examining the function of fictional elements, rewriting history from the perspective of a third world woman writer (in ISIS lover's novel )- which was not seen before with such an extent, is investigated.