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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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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 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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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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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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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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Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.

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Malakout is a postmodern novel, and what is important in the analysis of a postmodern novel is related mostly to the description of certain literary techniques, which are used to emphasize the futility of the old meanings. These works have characteristics that without paying attention to them, one cannot expect a logical evaluation of the work. Some of these postmodern features and techniques which are very important in this novel and will be discussed here are as follows: meta-fiction, intertextuality, fragmentation, black humor, pastiche, temporal distortion, minimalism, and finally grotesque.
Extended Abstract
Bahram Sadeghi first published his short novel Malkout in a journal in 1340/ 1961 (Sadeghi, 1961). He made some additions and corrections in it shortly after that publication, but he himself did not take any action to republish the work. About 10 years later, Abolhasan Najafi, Sadeghi’s friend and master, edited this novel and some other short stories by Sadeghi and published them all in the form of a collection of Bahram Sadeghi's works. Since then, this novel and other short stories have been published several times by various publishers.
The first chapter of the novel Malkout by Bahram Sadeghi has an epigraph that is in fact a verse from the Qur'an:فَبَشِّر هُم بِعذاب الیم  [Give them good news of a painful torment] (Q 84: 24). “فَبَشِّر” in Arabic means “give good news”, but in this verse, the word "good news" is used to express painful and tormenting news! Here we are dealing with a so called sarcastic metaphor, and the novel Malkout by Bahram Saldaghi (1340/ 1962) can be considered altogether as an extended form of this sarcastic metaphor (see also Aslani, 2019; 2021).
The fact is that Malakout is a postmodern novel, and neglecting this fact has caused many critics of the novel to pay more attention to its epistemological details rather than to its ontological nature. What is important in the analysis of a postmodern novel, rather than revealing its meanings, is related to the description of certain literary techniques, which are used to emphasize the futility of the old meanings. Malakout, like detective novels, has many secrets and there are many clues with the help of which one can unravel some of its mysteries and riddles (Shiri, 2005; Sᾱ’edi, 1992). If the mysteries and riddles in detective novels are finally solved completely, the solution of many mysteries of Malakout, like many other postmodern novels, are due to the readers themselves. Each reader must solve the mysteries and riddles in his or her own way and gives his or her own meaning to the novel (Ebrahimi Fakhari, 2019).
Apart from the importance of the reader's role in the interpretation of the novel, these works have other characteristics that without paying attention to them, one cannot expect a logical evaluation of the work. Some of these postmodern features and techniques which are very important in this novel and will be discussed here are as follows: meta-fiction (Waugh, 1984), intertextuality, fragmentation, black humor, pastiche, temporal distortion, minimalism, and finally grotesque (Lehmann 2005; Barry, 2002; Imhof 1986; Imhof 1986).
Malkout can be seen as a satirical imitation of texts such as the Old Testament and the New Testament, and Ykolia and her Loneliness (Modarresi, 1334/ 1955). One of the most important features of postmodern novels is satire and ridicule of moral beliefs and social and cultural institutions ruling the society (Safi Pirludje, 2015; Hutcheon, 1988; Genette, 1980); Sadeghi by using techniques such as meta-fiction, black humor, pastiche and grotesque, mocked the images of mythological characters such as Jehovah, Satan, Ab (Father or Christian God) and Christ. He mocked the authority of the strongest cultural institutions of his time, which ironically and day by day were to take a greater importance and power so that they finally took the upper hand in Iran.
This novel is the first successful post-modern novel in the Persian language, and apart from its aesthetic values and literary importance, it shows the great power of the Persian language in expressing new mentalities and creating new spaces that have not had the slightest history in this language. The modern Persian novel started with the Blind Owl of Sadegh Hedayat, and Persian novel with Malkout Bahram Sadeghi stepped into another completely new stage called postmodern (see also Ghasri 2022; Nadjafi 2020; Honarmand 2011).
References
Aslani, M. R., 2019, Bᾱzmᾱnde-hᾱ-ye Qaribi Āshenᾱ…, Tehran, Niloufar Publisher.
Aslani, M. R., 2021, “Jᾱvedᾱnegi”, Bahram Sadeghi; Tᾱrikh-e shafᾱhi-ye Dᾱastᾱn-Nevisᾱn-e Iran, edited by Hamed Ghasri, Tehran, Kettab-e Sarzamin.
Ebrahimi Fakhari, M. M., and Sharifnasab, M., 2019, “Barresi-ye Sdze-ye Modern dar Bouf-e Kour-e Sadegh-e Hedayat”, Naqd Va Nazari-je-je Adabi, vol. 4, Winter, No.2.
Genette, G., 1980, Narrative Discourse: An Essay in Method, translated by J. E. Lewin Ithaca, New York, Cornell University Press.
Ghasri, H., 2022, Bahrᾱm Sᾱdeghi; Tᾱrikh-e Shafᾱhi-e Dᾱstᾱn-Nevisi Iran, Tehran, Ketᾱb-e Sarzamin.
Honarmand, Saeed, 2011, “MALAKUT”, in: Encyclopædia Iranica, online edition, 2011, available at http://www.iranicaonline.org/articles/malakut (accessed on 16 October 2017).
Hutcheon, Linda, 1988, A Poetics of Postmodernism, London, Routledge. pp. 202-203.
Imhof, Rüdiger, 1986, Contemporary Metafiction – A Poetological Study of Metafiction in English since 1939, Heidelberg: Carl Winter Universitätsverlag.
Lehmann, H. T., 2005, Post-dramatic Theatre, Rutledge.
Lewis, Barry, 2002, “Postmodernism and Literature”, in: The Routledge Companion to Postmodernism, edited by Stuart Sim, Routledge, pp. 121-134.
Modarresi, T., 1971, Yakoliyᾱ va Tanhᾱ’i-ye ’u, Tehran, Nil Publisher.
Nadjafi, A. H., 2020, Goft-o-go bᾱ Abol-Hasan Nadjafi, ed. By Omid Tabibzadeh, Tehran, Niloufar Publisher.
Sadeghi, B., 1961, “Malakout”, Ketᾱb-e Hafte, No. 12, 7-100.
Sadeghi, B., 2000, Malakout, Tehran, Ketᾱb-e Zamᾱn.
Safi Pirludje, H., 2015, Ravᾱyat Padzuhi dar Zamᾱn; Sanjesh-e Ravesh-hᾱ-je Ghesse-Gu’I va Dᾱstᾱn-nevisi dar Fᾱrsi, Tehran, Padzuheshgᾱh-e Olum-e Ensᾱni va Motᾱle’ᾱt-e Farhangi.
Shiri, Gh., 2005, “Pasᾱmodernism va Maktab-e Dᾱstᾱn-nevisi-ye Esfahᾱn”, Majale-ye Daneshkade-ye Adabijᾱt-e Dᾱneshgᾱh-e Esfehᾱn, Vol. 2, 43, Winter, 167-198.
Sᾱ’edi, Gh., 1992, “Honar-e Dᾱstᾱn-Nevisi-ye Bahram Sadeghi”, Kelk, No. 32 and 33.
Waugh, Patricia, 1984, Metafiction – The Theory and Practice of Self-Conscious Fiction, London, New York: Routledge.

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During the struggle against the Qajar tyranny, struggling leaders went to the Shah Abdul Azim Shrine to hold a sit-in against the Shah Mosque Case and foot whipping of Tehran sugar merchants. The demonstrators in Paragraph 4 of their demands, as mentioned by Nazem al-Islam Kermani, the initial demands of refugees, called for the establishment of a justice system. According to this report, and many other evidences, justice, always has been a lasting and permanent matter for the Iranian society. Recent surveys show that justice should still be considered as one of the main demands of the Iranian society. The debate about justice and social movements is constantly changing, and thinkers in this area are constantly revising their ideas. The aim of this study is to elaborate these changes and to discuss the place of justice in new social movements that refers to a range of collective actions with purpose of changing in one or all of the institutions. The emergence of new social movements brought about new ways of expressing demands and protests, and a wide range of collective behavior forms, which, in terms of goals, nature and method of struggle, had a fundamental difference with earlier movements. In fact, with the advent of modernity, the calculations of traditional society were collapsed and, with the advent of postmodernity, new demands were created largely due to development of higher education and autonomy of individuals. Accordingly, new social movements emerged in a broader context of discourses, subcultures, ideological straggle, and identity diversity, and were spread in the form of new discourses.