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Poetry is an event that happens in language. In fact, the poet in his poetry works with language and the reader understands the difference between his poetic language and the common language. The Purpose of the poem is to create harmony among its different elements and one way to establish this harmony is through the phonetic structure of poetry. The Formalists and structuralists believe that the basis of poetry is its structure and in their structural studies they give more importance to the phonetic structure.In this article attempt is made to investigate the phonetic structure and the classification of all methods of forming this structure in the poetry of QaysarAminpour as well as the literary devices that shape the phonetic structure. Aminpour is one of the contemporary poets that adopts a classical form and is one of the followers of Nima. He uses the multiple language possibilities to add to the music of his poetry. The phonetic construction in Aminpour’s poetry has three levels: phonetic balance, lexical balance and syntactic balance. He looks at the special features of different components forming the word—phoneme to sentence—and creates artistic beauty in his poetry. He applies various techniques, such as repetition, rhyme, and pun to add to the beauty of the phonetic structure of the poems

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In modern aesthetics, the form of a poem is not enough to explain its artistic beauty. Therefore, a there is a comparative tendency to study the effect of the social environment on the personality and the taste of the poet, which leads tothe study of literary works on the basis of psychology and sociology of literature.

The researchers in this paper followa descriptive-analytical approach and employsome interdisciplinary sciences, such as psychology, sociology, anthropology and linguistics, to study the aestheticelement of color in the poetry of one of the most prominent Modernist poets of Tajikistan, FarzanehKhojandi. It is concluded that the poet is influenced by the colorful social and cultural environment of Tajikistan and employ color to describe his ethical views in the best way. Moreover, besides using the dominant symbols in Persian poetry, he introduces new symbols and diction in regard of colors and thus enriches Persian language and poetry

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There are hypotheses in the history of human culture and civilization in which we can find undeniable similarities and commonalities among them, despite their vastly different cultural and historical contexts. For example, finding commonalities between the language of two artistic aesthetic hypotheses, Sufism and Surrealism, which are very different from each other in terms of context, time as well as cultural and historical emergence, is so difficult. Our main issue in this paper is that there are undeniable similarities between these two hypotheses. This is done by means of a descriptive analytical method and comparative literature approach, particularly in American mode of it, whose aim is to study literature across the borders of given territory and research about the relation among literatures and any other epistemic areas such as art, history and philosophy. We found several common aspects between the languages of these two movements. For example, they use rebelliousness and innovative imagination, symbolism, dream, subconscious mind, love, satire, automatic writing, and madness. They also both guide humans to what is superior and profound.
 

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The contemporary writer, Reza Barahani, has criticized the social and political structure of his society in his novel Ruzegar-e Duzaxi-ye Aghaye Ayaz. In Frankfurt school’s critical approach to art and literature the disapprobation of situation of society and the correction of internal contradictions of society is important, so we aim to study the novel due to theory of Herbert Marcuse and Theodor Adorno to show that Barahani has questioned the existing condition in society by referring to the problems of society. The most important component of the theory is that revolutionary art can criticize social realities in the best form and content because of its distance from the problems in society. The result shows us that Ruzegar-e Duzaxi-ye Aghaye Ayaz is revolutionary in both form and content.  Barahani’s novel has questioned and criticized all Iranians ruling powers up to that time and believes that the root of all the problems is despotism and silence of people in face it. Formally, this is one of the first works that has welcomed new forms and has been written in modern form.
 

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The process of aesthetics is a type of thinking that encompasses various philosophical schools, particularly in the realm of art, from Plato to the present day. It is a historical phenomenon that owes its philosophical significance primarily to Kant. Kant considers beauty as an independent concept, where the pleasure derived from it is inherent to the thing itselfYuriko Saito, a theorist of aesthetics, believes that the aesthetics of everyday life addresses the shortcomings of art-based philosophical aesthetics. Accordingly, aesthetic perspectives and judgments can determine the quality of life, social and cultural ethics, and serve as a necessary means for expressing the evaluation of individuals' everyday life quality. They empower humans to fully enjoy aesthetic experiences through interactions with artifacts, the surrounding environment, and human interactions. Since narrative storytelling contains propositions and capacities that can be evaluated from the perspective of everyday life aesthetics and also possess validity in the real world, this study aims to analyze and expound upon the aesthetics of everyday life based on Saito's perspective in three short stories from the collection "Aashiqyat in the Footnotes" by Mahsa Mohebbali. The research utilizes documentary and qualitative methods, drawing upon analytical library resources. The goal is to answer the question of what the elements of everyday life aesthetics are in these works. The findings of this study in the three short stories demonstrate that the everyday life of individuals and the role of objects, places, etc. are depicted as symbols, in the form of normative escapism and defamiliarization in human interactions, etc. Despite normative escapism and defamiliarization in human interactions, the texts of the stories provide a platform for experiences that ultimately lead to the realization and judgment that beauty, ugliness, and the mundane are genuinely manifested within them.