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Dominance is one of the most vital and creative key terms which bounds up with the linguistic approach to formalism. According to critics’ definitions, “Dominance” has the potential to govern the elements of structure.  It is palpable to that the consistency of structure and coherence is indebted to “Dominance” so that we can argue that  comprehensiveness of this element is a kind of guaranty for understanding the elegancy of form and structure of poems. This dominance rules over other elements of language poetry and locates them in the right position. We can maintain that  “dominance” emerges in the exterior aspects of structure through symbols, repetition of lines, and mottos, proverbs, and other kinds of repetition. Furthermore, “Dominance” has some crucial functions which are extremely imperative for recognizing external aspect of pomes. To enrich the orchestration, making a skeleton for structure, monotone, fragmentation of structure, open end ness of poem, reasonable the verse and another important function. In this article, the functions of Dominance which is an essential element in the surface of contemporary poetry in Iran, will be fully discussed. 

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Critics’ includingVimsat, Brooks, Pen Waren and Renewelek, in their evaluation of poems have focused on differentiating features of classical poetry and modern poetry.Compared with the North branch of literary criticism, the South branch of New criticism has explored the formalistic and structural features of poems. Brooks in his book entitled modern and classical poetry maintains that the formalistic nature of poem stems from an array of intricacies of the corresponding society. Further, he adds that critics should delve into literary works in order to capture the details. Brooks in juxtaposition with narrative system of classical poem tries to establish four categories of formalistic system including categorical, rhetorical, abstract, and associational in the modern poetry. Brooks assumes that non- narrative systems are more complex than narrative ones and sometimes they can be integrated. This results in more density and difficulty in poems. This article probes the possibility of criticizing the contemporary poetry of Persian literature accoding to non- narrative forms.

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As one of the most famous philosophers of the twentieth century, Heidegger has proposed significant ideas about ontology. The undercurrent of his philosophy is the question of being in the world or Dasein. He believes that human is the only creature for whom being in the world is a question and only human is capable of asking about Dasein. Heidegger thinks that authentic poets with their particular use of language are the rightful peoples that can perceive and reveal the truth of being. Sohrab Sepehri is a contemporary poet who has a systematic frame of mind. In his poems, especially in his late works, consciously, continuously, and varyingly he speaks about the true being of things. In this analytic-descriptive article, the authors study Sohrab Sepehri's philosophical perspective towards the ontological state of being. Similar to Heidegger, in order to understand being in the world, he refrains from any stereotypical and utilitarian outlook on it, and ignores the presuppositions. In his final Collection, Sepehri's earnest endeavors to understand the reality of existence are evident. Yet, although he eventually confesses that he has not completely understood the meaning of existence, he never despairs.

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One of the stylistic features of Hafez’s sonnets is the repetition of a part of the meaning of the first line in the second line. His knowledge of the rhetorical and semantic relations of vocabularies enabled him to repeat the meaning with the least verbal repetition. One of the ways that has helped him to achieve this goal is replicating the concepts in two parts of the couplet based on rhetorical relations between them. The replicated concept, in addition to referring to the first concept or a part of the meaning of that, retains its original meaning. We call this method "Rhetorical Replica" (Badal Bilaqi). In this research, based on the three traditional offices of rhetoric, we have categorized different relations existing between the two sides of the replica. In Hafez’s poetry, methods of arranging the “rhetorical replica” vary. Sometimes Hafez substitutes a few concepts for each other in a verse and creates several rhetorical replicas. Sometimes he creates several rhetorical relations between two concepts, and extents the domain of significance. Also, occasionally he replaces a concept with multiple references which generate numerous significance and ambiguity in the poem. In what follows, through examples from Hafez, the authors of this paper categorize and explain the multiplicity and diversity of rhetorical replicas in his poetry. The frequency of rhetorical relations on the two sides of the rhetorical replica in the three different offices of rhetoric is as follows: invention, 3%; arrangement, 69%; and style 28%. About one third of Hafez’s poetry contains rhetorical replica. And, the high frequency indicates that this is a stylistic feature in Hafez’s poetry.
 

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Simin Behbahani is one of the contemporary ingenious and efficacious poets. In her New-Sonnets (Nou-Ghazal), the frequency and variety of allusions are too many, so that the allusion is one of the most striking features of her poetic style. Accurate understanding of semantic capacities and structural concinnities of the word, which has allusive theme, depends on being familiar with meaning and concept of allusions on one side, and knowing the structure of allusions and methods of applying them on the other. Because of the importance and necessity of studying the methods and techniques making depth, affection, and intellectual, cultural and semantic development of allusions in order to better identify and understand the capabilities, elegances and semantic and structural measures of New-Sonnets of Simin Behbahani and the role of these factors in the creation of literary enjoyment, the main goal of this paper is to analyze the structure of allusion and also sorts of using it on the vertical axis of imaginations in New-Sonnets of Simin Behbahani. The results show that allusions used in poems of Simin Behbahani, have varieties in construction from single and complex words to the spread and vast allusions on the entirety of the vertical axis of Sonnets. Overall, in new-Sonnets of Simin Behbahani, the allusions are represented on the vertical axis in different kinds and methods such as parallel allusions, integrative allusions, comparison allusions, Molammah, structural allusions, debate allusions or allusive debate, incarnative allusions, etc. some of these methods especially in the vertical axis, are rare or unprecedented.
 
 

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If we admit that culture is a kind of text, we must inevitably accept that “The History of Jahāngushā” is a text that is the point of contact of different ideologies, each of which forms a part of Iranian identity and culture. Contrary to formalist approaches, an attempt has been made here to revisit the text based on those approaches of literary criticism that read the text in a dialectical and interactive connection with the material contexts of its production. Therefore, first, the ideologies in the text are introduced and analyzed, and after determining their role in shaping the ideological system of the History of Jahāngushā, their discourse contradictions are revealed, and finally, the impact of these ideologies on the text is discussed. Various factors such as historical context, social, cultural, and ideological institutions have been influential in the composition of this text and its linguistic form. It seems that more than the linguistic and expressive complexities, it is the discoursal, ideological, and cultural contradictions that have caused confusion and complexity of the text. Analyzing and retrieving the ideological currents of the text not only explains the reasons for its different readings but also helps the reader to reach a new and different judgment of the literary, historical, and cultural aspects of the text.

 

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 Proverbs are a cultural tool that, due to their compactness and special phonetic and literary patterns, can destroy the intellectual resistance of the audience and impose a kind of conceptual and expressive tyranny on them. The cultural semiotics of Persian proverbs shows that gender discrimination and reducing the status of women is rooted in cultural standards and norms. In many proverbs, women are considered "other and marginal" and men are considered "self and center". Using analytical, descriptive and qualitative methods, this article criticizes a number of gender proverbs with emphasis on cultural semiotics in order to show, along with pathology, that the dual opposition of "man" and "woman" How has it influenced and caused components such as "patriarchy", "marriage", "reproduction", "appearance beauty", "male economy", "mental strength", "leadership and management" etc. So that the woman is placed in the "margin" and the man in the "center" of the cultural text. The cultural semiotic analysis of proverbs shows the fact that being a "woman" is a product of patriarchal ideology; A thought that consciously seeks to be the "other" woman. This thinking removes women from the social scene with hidden control and repression and seeks their "symbolic annihilation".