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In this article,first,postmodernism and its most important components, such as ontological theme, revalation of novel techniques,short circuit,indeterminacy,time disturbance,shift of narrator and point of view, rebellious characters,multiple endings,are shortly described.Then the existence of some of them in two short stories of Abootorab Khosravi( PELEKAN and HUZUR) is demonstrated,using some examples of the texts.Although these two texts have some of the elements of modernism ,ontological theme, which is the dominant element of postmodernism,can be seen in these texts; therefore they could be considered as postmodern texts.

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Taslimi ,A. ,Ph.D
Abstract: 
This article presents the characteristics of the postmodern fiction. The examples of these characteristics are found in a variety of Persian novels, long and short stories, although sometimes the foreign stories have been quoted as well. The main concern of the article is the manner of the arrival and presence of postmodern characteristics, postmodern theories and mechanisms in short story and novel. This matter has been categorized into three headlines:
 
1-Expressing the theory in text through establishment of the theoretical story ;  
2-Applicating the theory on the surface of the text ;
3-Applicating the theory on the deep structure of the story which is the highest achievements of postmodern art;
 
A theory revive in fiction; for example, non–obedience of the  character from the author shows the death of author idea in the deep structure of the fiction. 
 
 

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Taheri.Gh. ,PH.D
Abstract:
 
If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Seprhti. The postmodernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Postmodernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences. as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.
 
 

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The present article is an attempt for a comparative reading of Marsiaee Baraye Zhale va Ghatelash By "Abutorab Khosravi", an Iranian contemporary author, and Daroonmaye Khaen va Ghahraman by Jorge Luis Borges, Argentinean author, poet and contemporary scholar, based on the revolutionary theories of Post-modernism, which is one of the most significant theories of the contemporary era. This research, by using comparative method based on the theories of Post-modernism and analyzing the evidence, attempts to prove the hypothesis that the commonality between Daroonmaye Khaen va Ghahraman and Marsiaee Baraye Zhale va Ghatelash that in some cases have got imitating nature is not accidental. This reflects the influence of Daroonmaye Khaen va Ghahraman in creating Marsiaee Baraye Zhale va Ghatelash. Using Post-modern approach, similar plot, same narrative style, and common symbols are some of the features that Marsiaee Baraye Zhale va Ghatelash shares in common with Daroonmaye Khaen va Ghahraman. The main purpose of this essay is investigation and analysis of these common features in order to demonstrate the similarities of these two texts.  

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  This is a comparative study between two outstanding poets from two different cultures and civilizations. We try to show the effect of modern attitude on the two poets, T.S. Eliot and Ahmad Shamlu. For this purpose, we explain the word modern in the first part, then the history of modernity in Iran and Europe is described in brief. At the end, their similar thoughts and works are compared on the basis of modernity and literary modernism characters. Also we go through details of modern thinking in the above poets. We can brief our reasons for choosing these two poets for comparative study in these factors as:                                                                    First, they lived approximately at the same political, social and cultural context, which led them to create the same works and thoughts.                                                              Second, Shamlu is known as social poet and, like Eliot, lived in a revolutionary period. Eliot was under the impression of the world war and modernism, and Iranian poet had experienced 28^th Mordad coup deta and the 2^nd world war. Also he experienced the period of transition from traditional to modern society. So these poets have many similar characters for comparative study.                                                                    

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The banishment of poets from Plato’s Republic in order to reach at a society free from irresponsibility is the first step in the Western speculative philosophy to criticize poetry. From a Platonic point of view, irresponsible, irrational writing, of which poetry, due to its inspirational nature, is an outstanding realization, puts the ideal Greek society in disorder and thus should be avoided; philosophically speculative writing, which arises from rationality and truth-orientated thinking, should replace it. Although it is almost impossible to examine the credibility of such judgments, they have been raised in different guises throughout history to explain crises in human societies. With a special attention to the modern era, this paper argues that due to the shortcomings in the Western “philosophical discourse,” Western philosophical writings seem to be really dangerous and the cause of political and social crises. Conversely, writings arising from a “literary discourse” might turn out to be more responsible.

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The novelty in typography coupled with narrative techniques has turned Bivatan (Tehran, 2008) into a quasi-metafiction, i.e. a story which explores the process of its own construction. While in Bivatan the author is supposedly trying to produce a metafictional effect, a closer investigation into the novel will prove this claim void. In fact, Amirkhani’s novel fails to step into the realm of postmodernism.

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Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract

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Abstract
Turkish writer Orhan Pamuk in his novel "My Name Is Red" by presenting a historical fiction story of a moment in the history of their country's artistic and cultural developments The contrast between traditional art and Western art in the form of a long narrative in the face of the Ottoman court painters Venetian painters (West) has written to the Heand fabls by referring to the distant past and telling stories that are rooted in history and dream and myiths, wider problems of modern society in a way one of the complexities of the world today is rebuilt, This open confrontation with the audience intelligently processing, This raises the question; indeed the author of the text intended to articulate what it is and what it is, how does Reproducing? Part of that comes from this study that The story ultimately is the paradox interpretation unwanted desires historical and cultural tradition and modernism. In a society where at least five centuries ago is still involved in this story. In this paper, we investigate and analyze the aspects of the interpretation of its dimensions. This paper includes descriptive analytical process would have benefited from the resource documentation library.

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دیر زمانی نیست که استقبال فزاینده¬ای را از ادبیات تطبیقی در ایران شاهد هستیم. این استقبال گرچه ممکن است از برخی جهات اتّفاقی فرخنده به شمار آید اما نیک که بنگریم چندان خوشایند نیست. متاسفانه در کشور ما روی¬آوردن به ادبیات تطبیقی بدون درک صحیح مبانی و چارچوب¬های نظری آن این رشته را با بحرانی جدی رو¬به¬رو کرده¬است. بدفهمی¬هایی که واژه «تطبیقی» ایجاد کرده باعث شده است که گاه این رشته صرفاً به عنوان یکی از «دانش¬های تطبیقی» از جمله فلسفه تطبیقی، زبان¬شناسی تطبیقی و... شناخته شود. از سوی دیگر به دلیل ناآشنایی با مکاتب گوناگون این رشته و در نظرگرفتن آن صرفا به عنوان مقایسه دو ادبیات ملی، «پژوهش¬هایی زیر چتر نام ادبیات تطبیقی انجام گرفته که هیچ¬گونه قرابت و سنخیتی با ماهیت آن ندارد» (انوشیروانی 1389:36). نوشتار پیش¬رو به بررسی مقاله «بررسی تطبیقی شعر و اندیشه تی. اس. الیوت و احمد شاملو بر اساس مولفه های مدرنیته» به قلم حسن اکبری بیرق و نرگس سنایی که در شماره 4 (پیاپی 12) نشریه پژوهش¬های زبان و ادبیات تطبیقی چاپ شده است، می¬پردازد.

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Saeed Bozorg Bigdeli, Ph.D.
Hossein Ali Qobadi, , Ph.D.
Seyyed Ali Qasemzadeh
 
Abstract
Myths are among those mass narratives which are constantly reconstructed, recreated, or reprocessed in a variety of forms due to their interconnection with archetypes and symbols. One of the best grounds for the emergence of myths’ manifestations in the contemporary era is in the form of novel. Surely, the tight link and mutual requisiteness of fiction with the world’s new events, added to the narrative features of novel and the potential of this contemporary fictional form in the reflection of diverse subjects and tastes, methods, manners, styles, that is in addition to the display of the common and popular thoughts, beliefs and discourses in the society, all together made the structure and narrative elements of novel become the most vast ground for the emergence and manifestation of myths or even hinting to them. The aforementioned approach in novelists who base their work on myths, paves the way for the inter-textual analysis of mythological novels as they use and reflect myths; which is due to the attention they pay to conceptual indications and the intended symbolical myths in the mind.     
The recreation of myths in the form of narratives in the new era should be considered one of the prominent elements in the deep influence of postmodernism literature. In this relation, the present article intends to analyze “Salmargi”, with an inter-textual approach joined with narrative analysis. “Salmargi” is an Iranian post-modern fiction which has been shaped with two major and key mythological themes; one is the opposition of “life and death” in the form of mythological narratives of killing-the-son and the other “sacrifice”; with emphasize on the innocence and meekness of the heroes. While the major narration of the story is devoted to the Imposed War or rather influenced by it, “Salmargi” counts as one of the first post-modern experiences of the Iranian novelists about war.
 

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Although the history of comparative literature in Jordan has not been synonymous with other Arab countries, including Egypt, but it offers another example of the development of comparative literature in the Arab world; Jordanian adapters first examined the relationships between the influences of Arabic literature and other nations, especially the West. Therefore, the studies of the first period focused more on the axis of traditional and past literature, in particular poetry. With the advent of modernism, comparative research in Jordan has entered a new phase. The adapters sought to discover the extent to which Arabic literatures were influenced by the developments in world literature and Western liberation movements.  Attention to other branches of literature along with poetry; stories and plays are among the features of the comparative research of this period. With the rise of nationalism and pan-Arabism, as well as criticizing the methods and views of former colonial countries in the world, the Jordanian adopter found that the insistence on the origin of the literary work was no longer desirable and worthy of comparative literature. Consequently, Postmodernist comparative studies have been stepped up to Jordan's comparative studies. This article, with a descriptive-analytical approach, aims to depict the history of the development of comparative literature in Jordan in the period of comparative studies of traditional works, comparative studies of the literature of the modern age and comparative-cultural studies of the literature of the postmodern period, the developments of this knowledge in Analyze this Arab country.

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This article begins with the presupposition that the idea of the Islamic Revolution was born in historical social context and intellectual and political currents 20s, so the problem, it is that How did the religious, intellectual and political in this decade? Which has provided social and historical context for the sociological phenomenon as the revolution.
In order to obtain ideas of the Islamic Revolution in separate thematic analysis of leader and elites Islamic Revolution thought and in this study whit the searching the religious, intellectual and political situation in 20s, achieved this result that Revolutionary thought is closer to one of the intellectual and political currents of the decade.
Whereof four major currents of thought and political had social life in the that tract  free space, after a brief mention of the status of that tract, will be discussed, to recognize these trends, but where of 57 Iran’s revolution have give Islamic indicating, most the focus of this article is to understand the ideas of the two branches of political Islamism, the religious fundamentalism and religious modernism in the 1320s. the religious fundamentalism is current that in the religious knowledge sees no need to change and is trying to extract answers all the questions and needs of modernity from religion in the from of pre-existing, not with a new understanding of religion, and religious modernism that includes a wide range, is trying to respond modernity to new understanding of religion that it leads to changes in religious knowledge in this paper is discussed in detail to the stream.

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Postmodern Literature especially postmodern fiction has been a challenge among critics and theorists in recent years. Paying more attention to policies of this kind of literature style caused the misunderstanding in recognition the subject, do study the series of Gozargah e Bipayani written by Kazem Tina Tehrani as one of the first fiction works of Iranian postmodern story is noticeable. In this essay not the postmodern story writing policies but the postmodern philosophical anthropology basis has been recognized and analyzed. So the criterion of recognition the literal postmodern in this essay is not focus on the story characters from the technology point of view, but it is based on the styles of making humanity subject the way of presence of “self” in making the subject, the role of “the other” in this kind of subject making and same issues. As a result we should say Kazem Tina in his complex has mixed successfully the postmodern anthropological characteristics in its correct format from postmodern story, the success which is hardly recognizable in Iranian fiction literature.

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When a text is comprehended in a familiar context and enjoys a coherent whole, it is called a discourse. Reading a discourse is owed to linguistic knowledge and non-linguistic cognition. As a narrative, an autobiography has its textual world. Its reality is a result of the method used for linguistic coding. Through the linguistic relativity on the part of the author, the self and the world are actively constructed. Through an analysis of linguistic domain in autobiography, for denotative meaning and connotative meanings, the author’s worldview is known. The subject in autobiography is moving from one experience to another. It is placed on a continuum of language, adopting multiple positions arisen from connotative utterances. Performance of this self has become a postmodern norm. We should ask about the relation between language and reality in autobiography, and about aspects of cultural identity of the self-represented. This article attempts to say that in our reading of a postmodern subject in the center of autobiography, in view of language as a medium for expression, and meta-language as a language to explain the language used to represent the self, how the multiple “self” & “others” arisen from such texts could be realized in language and participate in various discourses.
 

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The problem of "alienation" and the "alienated man" is one of the most attractive features of the critique of modernity. Ali Shariati, the contemporary Iranian theorist who was highly concerned with the critique of both tradition and modernity, introduced the idea of a "third way". As the main cause for decadence, defining and defying alienation was at the core of Shariati's intellectual agenda. In this paper, we will explain his view on alienation and his recommended solution which invites peoples of the third world to return to their very identity. Then, some critical arguments raised by his critics will be explored and assessed.

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Apart from the well-known functions such as teaching, praising etc. Persian literature has also been afiction for the games and entertainment of people;there have been many literary games in the past which boobs have been the most famous of them.Also this game having a long history has not had the rules and specific form to the years before the era of modernity and its purpose has mainly been humor, entertainment, etc. but with the spread of modernism in Iran, extensive changes have created in its rules (the familiar and commonly form used today); its purpose changed and become a tool for preserving the past culture.
The reason for this change of rules and objectives remains unspoken until todaybut it seems that traditionalists - which have redesigned the rules of boobs - not only by changing the purpose did they intendto save the new poetry of ancient poetry from destruction that was challenged, but also with an emphasis on bits as the unit boobsthey suppressed new lyrics not allowed to enter -which its unit is the whole poetry - and it was marginalized.In other words,redesigning and articulating boobs by traditionalists at the present time have been a means to rejection of modernity and strengthening the position has been challenged and made change for the past poem.

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This research is investigating one of the most common types of postmodernism fictions named metafiction. This kind of writing including self-referential and disclosure techniques not only exposes fiction but also explores the word out of context. Patricia Waugh emphasizes on this kind of writing with using methods and techniques that metafiction’s writers used it to write a story about story. This paper is based on reviewing and criticizing a fictional work and it is written according to the library method. This research with scrutiny about metafiction’s general characteristics like: centrality of language, Framework, The story as an artifact, parody and ontological Metafiction’s nature, proceeding some writing techniques and methods that are hidden within this general component's. Then it criticizes Iranian metafictions. It has been concluded that the works that are described in the name of Metafiction in our country are far from the postmodernism’s escape, and precisely based on predetermined criteria and parameters, and the artificial and mechanical aspects of these stories conflict with the normal nature of postmodernism.

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“Dash Akol” is one of the most important fictions in Persian literature. This short story is different from other fictions of Sadegh Hedayat. Sacrifice and “gheyrat” are important concepts in this fiction and this is questionable. The hypothesis of this article was that, unlike popular belief, “Dash Akol” is not entirely realistic but it`s a semi-Modernist short story because of central subjectivity of Akol. In other words, characterization in the second part of this story is Modernist. A Modern subject has three features and all of them are observable in the main character of “Dash Akol”: 1) Consciousness 2) Agency 3) Personhood. Akol have some secondary features too: 1) Overthinking 2) Attention to the unconsciousness 3) Solitude 4) Thinking about death. This short story is written in a period of contemporary Persian fiction that Modernist literature arose and this story has shown the evolution of contemporary Persian fiction.