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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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Although Ghazals of Hafez have been researched on in different poetic and linguistic approaches, there is always a new finding when diving in this endless ocean. In this paper discourse of signature verses (Takhallus) of Hafez are analyzed using one of the most authorized and referred theories today but ignored for some times that of Bakhtin. The Russian philosopher who claims that the author is not the only speaker but along with “other voices” in an active interaction take part in the creation of the truth. Considering this view point, it was found  that in spite of the fact that in most verses Hafez addresses himself, there is no “one” speaker. In other words he takes different varieties of viewpoints. In this way he sometimes agrees with Hafez, sometimes praises him, sometimes takes care of him, and still in other cases he opposes him, blames him, disagrees with him, or even outrages against him. Hafez is not alone, there are other voices in different layers of the discourse in a dialogic interaction. What makes this signature verses distinct is that here Hafez explicitly says that “I is an other”, “I must become the other of myself”, “I am my other self”. In this research, characteristics of polyphonic discourse are proposed as practical Models in three patterns for structural polyphony and three patterns for content or viewpoint polyphony with all the related sub-patterns.  

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Most Iran-Iraq War novels are considered to be an ideological device for the “Holy-Defense” genre; however, in the recent years,a number of distinct polyphonic novelshave emerged, one of the most important of which is Ahmedzadeh’s Chess with the Doomsday Machine. Bakhtin’s distinction distinguishes between monologue and carnivalesque novels. Polyphonic novels, like carnivals, act as a centrifugal force supporting nonofficial dimensions of the society. Images of food and carnal elements, cursing, reciprocal relation between characters and settings according to the double aspects of carnival, and rebellion against a victorious closure by postponing the narrator’sactions distorts the linearity of narration common in in the Holy-Defense novels. 

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This research aims to conduct a comparative study of the narrative discourse in two short story collections: Ghesehaye Majid by Houshang Moradi Kermani and Poil de Carotte by Jules Renard. By employing Dominique Maingueneau’s theories of discourse analysis on literary texts, and by emphasizing the textual components of the two aforementioned collections, instances such as the relationship between the narrator and the narrated, kinds of discourse, and also polyphony in narration have been explored. Dealing with the life of a young adult and including much biographical information from the writers’ own lives, the employment of a humorous and realistic language are instances which make these two collections as good instances of the literature of children and young adults. This study has taken advantage from the theories of critical discourse analysis as an approach which analyzes literary texts and stresses the discursive and interactive aspect of communication. As a result, this research shows how the two writers are in fact very different in their narrative technique, the situation of narration and narrator state, the kind of productive discourse and narrative polyphony, which has resulted in a considerably different kind of literary production of the two authors.
 
 

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Among the various types of rhetorical figures applied in Shahnameh, metaphor is one of the most effective examples of rhetorical devices. Ferdowsi has been able to imagine, exaggerate, move and depict it at the same time by using it as a means to create discursive space and dialogic atmosphere.
Since we encounter with the text of discourse in the Shahnameh, we find that every word is a way  toward the  perception of the former and a way to perceive the word of the future. Each word treats another word or it targets the belief system of the target audience.So, braggadocio is a dialogic- discursive system in which metaphore plays a key role. According to Bakhtin's theory, there is a close relationship between dialogue and polyphony, and language is also "dialogic" in its nature, regardless of what the answer will actually be.
Polyphony is also a dialogic feature, and Shahnameh is also a Polyphonic- dialogic text. The purpose of the present research is to investigate the relationship between the braggadocio of Shahnameh with making narration by relying on Bakhtin's dialogic theory and its relationship with metaphor, and to show how this feature interferes with the restoration of action, suspension, and delay. It can lead to a dialogic atmosphere and extend it to transfer actions.
 

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There is a tradition in contemporary literary theory and philosophy of literarture according to which there is a rift between literary/aesthetic value and cognitive value. The anti-cognitivist maintains that even if a literary work has some cognitive value, this has nothing to do with the work’s overall aesthetic value. Furthermore, if a work’s perspective on some issue is seriously flawed, this, by no means contaminates its aesthetic purenss. This paper aims to demonstrate the opposite. It thus makes use of a ceratin thought-experiment and the concept of possible worlds to show that the cognitivist’s position is justified and proceeds to illustrate that even polyphony as an aesthectic value cannot be properly understood without recourse to its cognitive status. It then goes on to meet a serious challenge: the so-called “institutional argument” which is deemed to be among the best arguments in the anti-cognitivist’s dialectical arsenal. The argument is shown to have several defects in the context of the contemporary debates in theory and philosophy of literature. The main conclusion of the paper is thus as follows: The cognitive value of a literary work is part and parcel of its aesthetic value

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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.