The present article intends to study the theoretical and methodological principles of the FORMALISTIC CRITICISM of poetry on the basis of the Russian formalists and American formalists or "new critics" views. For this aim, our approach has been the analytical-critical approach. Finally, this article organizes the method of "gravitational CRITICISM of poetry" by the creation of profitable contact between theoretical and practical achievements of the two branches of formalism. This method analyses all of the form elements of poetry, not as "connective CRITICISM of poetry" by way of the horizontal-vertical, but according to the systematic and structured nature of this literary genre by way of the polyhedral-hierarchical mathod in relation to its "fundamental technique".

The basis of CRITICISM in the arts with any reading is attributed to the from of the artwork. Form is the principal and basis which gives birth to an artwork and reveals it.It is on basis of shape, form and structure of any artwork that an artist his/her talent and creative devices and by inventional imagination creates it. Art creation happens to come out in the form shape and beauty is the uncovered and undamental figure which appears in artwork.It is possible to have any critics and interpretations of an artwork through the objects composition and form which is called artwork meaning or concept of artwork, understanding and decoding the core idea of the author, the text antecedent (words chain, shape and color, motion land sounds) to psychological and sociological, historical and mythical fields through the artwork form (shape) and its formality. form is the contact point of an artist and interlocutors and vice versa.If an artwork is taken as an independent object on an artist and interpreted in the historical horizons frequently then what makes any interpretation possible finally is the art form; the­ essence of which is the beauty of expression. Questioning an artwork may /be done in different aspect such as what does it mean? What has been the intention of its creator? What does the work mean in the present time? How an artwork can convey past historic horizons to the modern era?Any answer to such questions depends on precise and original information of the artwork form and composition critics analysis.

The present study is an attempt to investigate the first sermon of NahjulBalagheh in the light of the FORMALISTIC CRITICISM. It deals with the issue that the religious meaning and content of the creation sermon should be considered as a foundation, and how much the form and integration have been regarded, and to what amount the literary text has been observed by the author. Ignoring the non-textual questions like the personality and position of the author, social, historical and psychological issues that have no place in FORMALISTIC CRITICISM, the writers concentrate only on the text and try to discover the beauties of the mentioned sermon according to the principles of this CRITICISM. Regardless of its content and meaning, the text is entirely integrated and the words, terms, phrases and sentences are in a great harmony, making a wonderful arrangement. Using metaphors and figurative language, concentrating on inspiring sounds, observing the phonetic, syntactic and morphological balance, applying different kinds of literary defamiliarisation, making relation with other texts, all causes the text to own a magnificent superstructure and infrastructure. This leads to the conclusion that the beauty and poetry of the text are not sacrificed for the content and the meaning; rather, they help one another and the language is as important as the content.

FORMALISTIC CRITICISM is an approach which was in progress in Russia in 1915 - 1930. This field of literary CRITICISM study literature from the point of view of linguistics. In this approach, a literary work is considered to be a linguistical subject. The from and shape of literary work is the base for aesthetic analysis and the only way for reaching to the hidden meanings. Some theorists of this approach are Roman Jakobson Boris Aknolem and Victor skolofsky. They were association members of linguistics at that time. The purpose of this research is to study three lyrics of Sanaee based on this approach with emphasis on Grammont and Jakobson opinions. The results show that by using a forma listic approach the hidden meanings of a literary work is accessible without knowing the structure of the society, historical issues or even the psycholigical charater of the writer.

The Russian formalism is an approach was introduced at the beginning of 20th century and those who offered such a theory wanted to find a scientific method in literary CRITICISM. They believed that the literary work itself should be criticized instead of its author and the literary nature of the work should be considered as the main subject. Adopting such a method, they propelled the study of literary works to the issues of Form and Technique. Besides FORMALISTIC reading of Mahmood Dowlatabadi’s “Journey”, in present paper, we are going to make Formalism and its related special concepts clear and to show how critics use these FORMALISTIC concepts to analyze this story.

Critics' including Vimsat, 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.

FORMALISTIC CRITICISM was the most important approach at the turn of 20th century that was originated from the modernism. The last decades of nineteenth and the early twentieth centuries, were the periods of denial and rejection as well as break-away from the past literary and artistic traditions. Modernism tried to break the ideology of ancient art and created "new" and "modern literature". For that reason, in the early twentieth century, thinkers made anti-cinema, anti-theater and anti-novel efforts to create a kind of anti-artistic views. The formalism in this tumultuous scenario raised the flag to combat traditional thoughts in literary and artistic domain. Is today, in the existing circumstances, formalism can be used for literary CRITICISM?In this paper, the manner of emergence of formalism in the early twentieth century literature is studied and techniques and theories are compared with the Persian rhetoric. Undoubtedly, today, after the passing of nearly one century of the emergence of formalism, it should be noted that although formalists created new theories, almost all stages of their works are clouded with dogmatic fundamentalism. Today, in order to pay tribute to their efforts, FORMALISTIC critical school, with an absolute perspective, must virtually be placed in museum of artistic and literary CRITICISM and cannot be used as an ultimate and final method in CRITICISM.

Introduction: The term ‘defamiliarization’ which usually appears in FORMALISTIC works is, in fact, a major item in their literary theory, and it refers to the application of expressions and strategies to make discourse literary. In other words, it makes the perception of words unconventional, unusual and unfamiliar. The basic tenets of FORMALISTIC theories mainly rely on the CRITICISM of the ‘form’. In this view, form means any element which can create a cohesive composition in relation to other interrelated elements provided that each element plays its role in the whole system. Thus, every part of the text, like imagery, prosodic meter, rhyme, syntax, syllables, voiced and voiceless consonants, and figures of speech, constitutes the form. It focuses on intertextual elements and uncovers the defamiliarization realizations of the text. Indeed, it overlooks issues like the author’s character and social and historical contextual factors surrounding the literary work. On the other hand, linguistic forms and properties are analyzed so as to examine the cohesion and literary aspects of the text. Since its formulation by Shkolovsky, a Russian formalist critic, defamiliarization has attracted many critical formalism adherents. In other words, formalism embraces the Context Theory and analyzes the literary text features including its lexical items, grammatical structure, rhetorical devices and phonological properties. The term ‘context’ has attracted a lot of attention in modern linguistics. In general, a context can be viewed from both linguistic and extralinguistic perspectives. An extra-linguistic context refers to the outside of the text conditions affecting and crystalizing the author’s words. In addition to out-of-thetext factors, the linguistic function of each textual element at lexical, syntactic, semantic and phonological levels can be analyzed in relation to the linguistic aspects of the text and the way they affect the literary work. Methodology: The present study is conducted through a descriptive-analytical method and in a FORMALISTIC theoretical framework to show the linguistic and inner representations of defamiliarization in ‘Al-Hurria’ composed by Ahmad Matar. This piece of poem is composed of lexical items which conceptualize freedom. Results and discussion: The poet attempts to illustrate himself or any other free person as a driven-away captive distressed by the confinement sufferings. The first representation of defamiliarization in ‘Al-Hurriah’ can be seen in an overall perspective. It means that the poet gives such an uncommon picture of freedom that one can live a free life even in captivity. The purposeful selection of some lexical items has made the poet’s language distinguished and prominent. In addition, with respect to the defamiliarization features represented in the preceding analysis, it seems that the concept of freedom is depicted such that, in the depth of captivity and confinement, one can live a free life. Such a freedom cannot be interpreted as the liberation of man’s body from chains and shackles. It is, on the other hand, the faith crystalized in the character and nature of the liberated man, spreading over the other organs of his body in a way that even the most evident human emotions originating from sorrows and anguish, anxiety and mental confusion are conceptualized very differently from the way they are conventionalized in the native’s beliefs. In symbolic imagery, this concept shows itself as a drop of tear released from the prison of an eyelid as if destiny and the end of all captives ended in liberation from both material and spiritual imprisonment. Thus, defamiliarization offers a farfetched unconventional imagery of liberty. This is because the poet has revealed the concept of freedom as a fantastic idea to show that it can be perceived even in the depth of captivity. By using verbs with a special semantic load, a gentle and purposeful arrangement of words next to each other, and its coexistence with emphatic letters at the syntactic level, the defamiliarization intensity of the text of the poem has been increased. Also, in order to induce the sense of violence, suffocation and unpleasantness of captivity and the sense of pleasantness and continuity of freedom, the letters used in each word phonetically correspond to the content of the text. Conclusion: The results indicated that the concept of liberty and its confrontation with captivity is depicted unconventionally in this poem. The poet has used two different perspectives to depict the atmosphere that dominates the text. In the first point of view, which is based on an external view, a dark scene of the moment of arrest and the pushing of a captive is depicted for the audience. In this space, it seems that the tears flowing from the captive's eyes will affect every viewer who looks at him from the outside. On the other hand, by depicting the mental mood of a prisoner from an internal and psychological point of view, the atmosphere of the text moves toward openness and pleasantness. In this perspective, captivity is considered the same as freedom. The purposeful selection and arrangement of phonemes, lexical items and rhetorical devices tend to support defamiliarization throughout the text.

Interpretation of Roomi's Masnavi has a long historical background. But the important point in the way these interpretations are explained is a kind of mystical tendency in content explanation of the poems. A difficulty that has come up in the interpretive method has been resolved in this article. To settle the difficulties, I have made an attempt in this paper to suggest a new interpretive way, based on which, the meaninf of each verse would limited as much as possible to its literal meaning. That is to say, the meaning of verses in this way would be explained correctly on the basis of figures of diction and poetic imagery. This method is called “FORMALISTIC interpretation” to challenge the presupposition common among the interpreters of Roomi that the literal and formal aspect of the language has not been important comparing to the precious thoughts of Roomi. In this method, the main criterion for interpretation and explanation of the poems of Roomi is the language of Masnavi and the power of Molana as a poet, a criterion that can be too influential in understanding the mysticism of Molana.

In the poetics of formalism, the two issues of "story" and "plot" have been redefined depending on the ultimate goal of this theory that is defamiliarization .Based on the new definitions, "story" that was believed to be the temporal chain of events, is presently known as the raw material of the narrative called fibula. Similarly, "plot", in opposition to what preformalist critics believed to be the logical and causal narrative structure, currently refers to all the aesthetic devices used to give that raw material an artistic structure and is called subject. These devices appear in the three levels of language; themes, narrative techniques and the aesthetic structure of narrative. Persian contemporary short story writers have created an innovative form of deconstruction in the narration of their stories by considering FORMALISTIC theories and a skillful utilization of linguistic, thematic and Technical features. Therefore, in the process of writing stories, they disregard plot in the form of its event-driven classic definition rather try to highlight the form of a fictional narrative through the application of new narrative techniques. As a consequence, they achieve "Defamiliarization" and "subject" intended by formalism. Given that the defamiliarization often appears in the level of narrative figures more broadly and diversely, in this article, we are going to analyze and categorize diverse methods of creating defamiliarization which are the main reasons for the strangeness and intricacy of the contemporary formalist short stories.