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The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi – ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

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In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too Parody is one of the complex and secondary literary genres that represents intertexuality.The relation between parody and deconstruction is connected to the way they act. Parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.

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For the first time, Julia Kristeva, while exploring Bakhtine's ideas such as "dialogical logic" and their application to literary texts, introduced the term of "intertextuality". She considered intertextual relations and considerations as rationales in freeing the literary text from a limited semantic system. From then on, Kristeva and other post-structuralists such as Roland Barthes extended many of the ideas associated with "dialogism" and they approved that every literary text have a continuous and solid link with other texts. From this perspective, none of the text is lone and novel rather and emerged and derived from different and plural cultural origins. In this paper, for applying the intertextuality theory to the contemporary Iranian poetry, we have chosen poems of Qeysar Aminpour and believe that intertextual relations and considerations in his poetry have institutionalized a remarkable essence of dialogism and have substantially led to complete the meaning of his text. In other words, we believe that the intertextual considerations and relations in Aminpour's poetry fulfill two principal functions: "create the character of dialogism" and "help complete the basic implications of meaning". In this paper, apart from explaining the results which are obtained in the light of intertextual reading of Aminpour's poetry, it aims to examine the possibility of applying this theory to other poetry especially the contemporary Iranian poetry.

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Based on Mikhail Bakhtin’s point of view, the Dialogism, novel, more than anything else, is a linguistic phenomenon, which has a fair correlation between its genuine and its feature of heteroglossia. Language expresses the different social and ideological approaches of the utterances within a translinguistics framework. So the novel compiles all of these diverse social and ideological discourses and utterances. Different Character zones and discourses of the narrator, and embedded genres create a world of different voices and ideologies. From a feminist critique perspective (Gyno criticism), the novel Cheraghha ra Man Khamush Mikonam (I turn off the lights), applies social and cultural differences in different discourses to indicate the writer’s womanly standpoint through various social languages and utterences, and therefore, makes grounds for the promotion of the womanly voice in a multi-linguistic system. Here, through a descriptive-analytical method, we are going to study the “Heteroglossia” feature in the novel Cheraghha ra Man Khamush Mikonam written by Zoya Pirzad in the light of Bakhtin’s dialogism, and also from the Gyno criticism point of view, to analyze the diversity of discourses in this womanly novel. In this novel, the womanly awareness is indicated by the writer, the double-voiced discourse consists of the writer’s double-voice discourse and that of the narrator, embedded genres and the Character’s zones display the different social and cultural levels available, which also result in the appearance of a womanly world in the novel.

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The never-ending magical discourse of Hāfiz of Shiraz has become an artistic puzzle and through the analysis of his words, many have provided with recurring themes. Particularly, the ghazals of Hooshang Ebtehāj (H. A. Sāyeh) bear the rich textual and extra-textual resemblances to the ghazals of Hāfiz and declare a historical and inmost dialogue with the Hāfizian art and thought. In this paper, I aim to present dialogism to put Mikhail Bakhtin's literary-social theory of the text in practical use by application of a Persian poetical tradition, "Javāb-Gooyee" and Sāyeh's approaching to Hāfiz. By this we can also criticize some remarks on the decadence and imitational style of his poetry. In general, the Sāyeh’s dialogical Hāfiz-oriented ghazals will be studied intertextually and discursively on the basis of some views of structuralists as Roland Barthes and Julia Kristeva. I should conclude briefly that Sāyeh's dialogism haunts between the text and the community. On one hand, his intertextual references are often restricted to the syntagmatic axis, especially to reproduction of lingual codes, rhetorical devices, and prosody of Hāfiz and on the other hand, his historical discourse, especially on three characteristics namely society, human, and love take a polemical stand against discourse of Hāfiz.

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  Although Bakhtin did not formulate any theory of subjectivity per se, the problem of subject or, as he called it, “self” formed one of his main critical interests. This study focuses on his definition of “dialogic self” and the different notions of subjectivity discussed in his books in the course of his twenty-five year career. For convenience, five stages are introduced through which Bakhtin has constituted his definition of subjectivity by taking a piecemeal approach to the issue. These stages are labeled as: ethical, aesthetic, novelistic, carnivalesque, and dialogic subject. Except for the carnivalesque stage, each of these stages is built on the modification of the previous stages about subjectivity. It was only in the carnivalesque subject that he discusses a new characteristic for the subject—a characteristic that was eventually omitted in his final paradigm. Two of the contemporary theories of “dialogic self” predicated on Bakhtin’s ideas are also briefly discussed in this study. One is Hermans’ theory of subject-space/subject-position, and the embodied dialogic subject, and the second is the later developments on Hermans’ theory of the dialogic self.

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Based upon the major events of the past decades in the field of
comparative literature, there seems to be a need for a new definition of
comparative literature and comparative criticism. In this essay, the
new characteristics needed for the new definition of comparative
literature and the approaches and methods of comparative criticism
(especially interdisciplinary approaches) will be outlined. The
researcher believes in order to understand these new characteristics,
one needs to analyze and re-read the concepts of “the other”, “border”
and “identity”. With the advent of translation theory, semiotics,
narrative theory, postcolonial theory (especially diaspora theory) and
cultural theory, there appeared drastic changes not only in the field of
comparative studies but also in the methodology of comparative
studies. Therefore, the challenge we face at the moment is the
explanation of the approaches and methods based upon the new
definitions. Consequently, three major theories and methodologies are
proposed and it is claimed that the intertextual theory and methods
match best with the new definitions of comparative literature.

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Socio-religious discourses, based on polarist epistemology, form the epistemic world into a system of Center and the Periphery and then subject the periphery to suppression and silence. This practice has extended to most signifying systems, including literary genres. Among the literary genres, the super-genre of Iranian-Islamic mysticism, titled love mysticism displays a different account of the construction of the periphery and the binary system governing that construction. In this paper, along with introducing the construction of the margin and its examples in the dominant Socio-religious discourses, the different accounts of the mystics are classified and interpreted with the reasons for each of them. The result shows that the mystics apply a deconstructive reading, building their argument on the unitarian discourse of love mysticism, the ontological requirement of the existence and presence of margins, the necessity of a romantic relationship, the denial of mediation, and similar reasons, to take the three fixed categories of the peripheral, including humans in the general sense, the un-prostrating, and the unreasoning, from the margins of the system to its center. Then, on another level, via a dialectical reading and the suspension of the objectifying process, they go beyond the binary of the center and the periphery. The suspension of the objectifying process in mystics’ representations is the equalization of the center and the periphery, such as the equality of disbelief and belief, the world and the hereafter, and so on. Although the function of these readings in the social context is a change ... 

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  Language is the fundamental of meaning and semantic in discourse, a system that is complex more than any other. In other words, a novel is a linguistic phenomenon that is an integration of different styles of speech, heteroglossia and voices where there exist dialogism relationships. Showing peculiarities of different social languages, a novel represents the dialogism relationship in a way that it can make the narratives more understandable because this multiplicity of languages is effective in the layer of discourse.  Likewise, the knowledge of author about literary and non-literary texts is effective in creating inter-textual relationship with previous texts. A review of the novel language, from the view point of critical ‘dialogism’ shows how novelists apply special style, secrets, and phrase. A descriptive - analytical study shows dialogism features in the language of the novels of Ibrahim Koni. In his novels, Koni tries to portray desert and its creatures in a way that makes the desert an absolutely beautiful world with full of emotion. Even, he accords particular language to plants, animals and others desert objects. Further, he uses intertextual relationships between languages of his novel and a variety of other literary, mythological, religious and historical languages and changes the novel language into a tableau of dialogism based on language heterogeneity and ideology of desert creatures.

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Polyphony is a term applied by Bakhtin to describe the features of Dostoevsky's Poetics. According to Bakhtin, polyphony is based on dialogism and to respect to the others 'opinion. In this case, polyphony is an achievement that releases human thought of dogmatism. Molavi, prior to Bakhtin, emphasized on otherness and avoidance of dogmatism and selfdom. Polyphony is a twentieth century idiom and he did not theorize it, the principles of polyphony as a universal message for human society can be seen in Molavi's thought and works. This article examines Molavi̓ s polyphonic view and tries to show it in Molavi's works especially in Mathnavis. The conclusion shows that there are the elements and roots of polyphonic thinking in Molavi̕ s work; Molavi presents polyphony through the elements such as: coexistence of binary oppositions, relativism, to respect to the other`s ideas.