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The necessity of using modern literary knowledge in evaluating the Quranic texts and the writings based on the Quranic teachings is clear and necessary for Muslim researchers in today's world. In this research, the structure of Joseph’s (pbuh) Tale in the translation of Tafsir-e-Tabari (the Persian translation of Tabari’s Commentary of the Quran) has been evaluated by using Propp’s morphology. To achieve a more appropriate conclusion, this tale has been divided into four stories and its characters and their functions have been critically analyzed in each story. The number of the characters and the manner of their functions clearly demonstrate the structure of this tale on the basis of Propp’s theory. The movements of three stories out of four in the mentioned tale have followed Propp’s sextuple movement pattern; only in the second story of this tale, a two cross-sectional movement is seen that is not adaptable to Propp’s movement patterns and is considered as a new movement. Propp in his ideas has considered the religious roots and his morphology theory has been very efficient in studying Joseph’s (pbuh) tale. Since Propp has paid attention to structures rather than superstructures and quantitative details, his ideas are also helpful in studying the other tales. Finally, the author suggests that all the Quranic tales can be evaluated from a structural perspective on the basis of Propp’s ideas to find out the fundamental structure of these tales.   

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Contemporary poetry can be divided into the poetry of before and after the Islamic Revolution. Among the post-revolutionary poetry, the Pishro or avant-garde Poetry is the most important style of poetry. The well-known figure of this kind of poetry is Reza Baraheni (1935- ) who became the most influential poet of the Post-Revolution Poetry with the publication of his Khetab be Parvane ha and introducing his literary ideas in different articles. Baraheni attempts in his poetic theory, which is known as lingual theory, to reach multilingualism in poetry, multiplicity of forms and language, disintegration of meaning, disintegration of narrative, disintegration of grammar, formalism, and disintegration of description. In the present study, topics such as morphological innovations and morphological and syntactic deviations in Khetab be Parvane ha are studied. As a result, deviations in these poems are divided into two: the successful linguistic part where Baraheni manages to bring some new words into Persian language without disturbing its morphological structure, and the unsuccessful syntactic part where all the rules governing the sentence have been disturbed.

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The present article identified the morphological characteristics of the Arabic noun as a feature preventing various interpretations of literary texts. Arabic nouns enjoy intrinsic features such as masculinity and femininity, solidness or derivativeness, morphological weight, duality, plurality, precise pronouns, relativity, demonstratives, etc., which determine and give rise to special associations in the mind of the audience. Although the precision of Arabic morphology in scientific and philosophical prose is a privilege with the help of which scholars can clearly express their intentions, it seems to be a defect in literary texts that reduces the multifariousness and artistic delicacy of the works. The absence of some of these features in the morphology of Persian nouns contributes to the ambiguity and literariness of the poem. In Hafez’s Diwān, there are seven bilingual lyrics (Molamma’āt) that allow such a comparison. The presence of some Persian and Arabic stanzas in a ghazal lyric of Hafez clearly shows the difference between the morphological possibilities in Persian and Arabic. In general, the absence or existence of such features in Persian words brings with it a wider audience and expands the range of different interpretations of a poetic work.