Purpose: The present research aimed at finding an answer to the question of the process of influence of cyberspace on Iranian poetry in the future, and the influence of cyberspace on various aspects of poetry such as content, its audience, the poet, the media that published the poem, the process of composing the poem, the rights of the author, and Globalization of the Iranian poetry. Method: The Delphi technique was used to carry out this research. A group of experts comprising professors in the fields of Communication and Literature was selected. The expert’s opinions were collected and analyzed through an in-depth interview, a questionnaire based on the Likert scale, and by the execution of three stages of Delphi rounds. Findings: Accordingly, considering the content, the experts predicted that due to the impact of cyberspace, the quality of the poetry will be reduced and consequently, the language of poetry will become simpler and close to prose and it will only reflect the daily events of life. Regarding the audience, they concluded that the audience’s selection power will be increased, however, we can differentiate between the public and professional audience. With respect to the sender, there will be no phenomenon of multi authors, and regarding the channel, the experts agreed upon Media Convergence besides, the poets’ agency in publishing their own poems will be increased. Conclusion: Experts believe that the spread of communication technologies will make censorship ineffective. This is the only case in which the group believes in the impact of technology on the future of poetry. The group of experts did not reach a consensus regarding the impact of technology on the phenomena such as publication of author’s poems as one’s original work and the Globalization of Iranian poetry, thus, analyzed these items in the framework of the human agency.

The season of autumn and all of its elements and phenomenon is one of the vital subjects of nursery rhyme. In this article, the child poets approach and their inspiration in observing the visual attractions, natural and biological capabilities of autumn are pointed out; also the way of using the symbols and legends of autumn is discussed and explained. The results of the research show that some of the autumnal themed poetry that were created in the field of children’s poetry, were affective in creating an emotional-artistic connection; also at introducing the reader to the changes that are happening to the outside world with the arrival of the season. Based on the referred samples of the autumnal poems of nursery rhyme, can be broken down in four different approach categories: the classic, the cognitive, the pictorail and the general approach; and each one of these approaches have their own specific and special natures. The result of the ideology is the general and expressive style that the child poets are benefiting from it.

Comparing the continent, English poetry enjoys a specific and peculiar place. According to Dr. Mojtaba Minavi it is only English poetry which possesses a particular position among other European countries; for the Germans revealed their capacities in music, the Italians in drawings, and the Russians in Novels, but the English like the Iranians indicated their capacities and spirits in poetry and mysticism. Confessional poetry in its historical course in the Western literature changed to be a different genre comparing with other similar kinds and genres during the past ages. English sonnet in the 16th century (the Renaissance period of the English literature) while imitating the Italian ones, like those of Petrarch, achieved a high place after William Shakespeare composed his sonnets and lyrics.

Persian poetry and Literature, especially Religious and Religious Literature in the Safavid Period, Were Welcomed by the Shiite Religion of the Safavid Kings. In terms of poetic style, although poets are in a state of decline due to their tendency to imitate, some poets have created new themes in poetry that are unique in their kind. This article has been done analytically with the aim of examining literary images with religious elements in the Safavid era by looking at poetry of Mohtasham Kashani. The results show that the religious elements prevalent in this period, especially in the poem, include Qur'anic expressions, names of religious and religious personalities and divine prophets, religious vocabulary and idioms in Islamic and religious orders, miracles of divine prophets, prophetic traditions, holy places Heaven, hell and so on. In the meantime, the poetry of Mohtasham Kashani in the field of religion and religion has benefited much more from other poets.

Pierre Emmanuel fait de la ville, la base de son poème « Les Noces de la Mort » du recueil Tombeau d’Orphée (1941) associé au thème de l’amour, de la perte et de la femme. Il a une vision mythique de la ville et il l’utilise pour exprimer la douleur et le chagrin du poète amoureux, Orphée, qui a perdu sa bien-aimée, Eurydice. Notre objectif est d’analyser la figure féminine de la ville selon l’approche de la géographie littéraire. Nous examinerons comment le sentiment d’appartenance personnelle de Pierre Emmanuel à une ville (ici peut-être la ville de Lyon) s’inscrit dans ce poème et quels sont les éléments qui permettent de concevoir cette ville comme un repère identitaire pour la femme aimée. Dans le but de creuser ce cadre conceptuel et cette lecture féminine de la ville, la présente étude s’intéresse à l’analyse de l’espace selon les théories de Michel Collot.

The main theme of all Mowlana's works is Love. Love is the true essence and key to his collected works on Shams and the only fountainhead of light, conscience, and understanding. All his life Mowlana yearned for unity with God and considered love to be the only road to salvation. If for centuries, reason and thought were considered as essentials to discoveries, for Mowlana this essential was love. Thus in his collection on Shams, there are approximately 5000 stanzas on Love. Mowlana explains that this secret of God has no definition, unless defined with Love. From the view point of Mowlana, Reason is secondary to love, since reason is limited, and after death nothing remains but love in death means unity with the lover-God.However, this does not mean that Mowlana denies reason. But where is the stance of Reason, specifically Love in the works of Mowlana? In order to find an answer to this question the present paper searches for Mowlana's mystical thoughts through his poetry.

Ghiasuddin Ali Yazdi known as "Ghias" was a well-known poet and painter from the tenth and eleventh century AH who was known for the design of silk fabrics to "Naqshband". He, in addition to skill in the art of Naqshbandi, was also capable of poetry and had a collection of beautiful poems. His poetry collection includes various poems odes and sonnets, quatrains and Masnavi. All of these has been corrected and published only once by Hussein Masarrat in 2014. This study, by examining this publication, will show its weaknesses and inadequacies in several sections: 1) the method of correction is uncertain and inauthentic; it is deductive; 2) many of the verses are recorded with distortions that, by affecting the meaning of the original text, have changed a lot of it. In addition to these points, the mistakes related to suspensions, typos, mischiefs, and recordings should also be mentioned. Masarrat’s correction of Ghias’ collection has many drawbacks; for this reason, this article tries to refer to some of them and the need to re-examine his collection. The elements of the style of Ghias poetry are also analyzed in this essay in terms of familiarity and normality. The most important norms in the poetry of Ghias are syntactic, spatial, and archaism. In this study, we try to recall this part of the norms, part of the aesthetic functions in Ghias’ poetry.

During 1990s, certain trends appeared in Persian poetry, which were generally different in terms of both language and method of expression and content from those from the previous periods. The common aspect of all the poetical trends from the 1990s was transcending beyond the common and normal language and expression of Persian poetry. One of the most important and most influential poetic trends from 1990s was “ the Language poetry” trend, pioneered by Reza Baraheni. In this study, the Language poetry trend is analyzed. The theory of “ linguality” proposed by Baraheni is briefly introduced, in the first place, followed by figuring out the main indicators of Language poetry from among his viewpoints. The most important indicators of the language poetry are syntactical discordance, de-semanticization, multiphonicity, projective dislocation, polylogia or lingual lunacy and so forth. It is argued that there is a gap between poetical theory and poetical implementation in the poetry of Baraheni as in Nima and Shamlu.

Important literary currents have historically been identified by their names. The contemporary era has encountered new currents due to events such as: global communication, translation, historical study of literature and awareness of some new literary knowledge. One of these currents is free short poetry, the emergence of which can be considered in Iran under the influence of the above factors, in addition to the modern world of brevity and the taste of the audience. The acceleration of the spread of this trend among contemporary poets caused some scattered opinions and letters to be mixed. Some anonymous or lesser-known poets have also been able to take good steps in the evolution of this current, so much so that at a glance it can be claimed that this current can define itself on a global scale. But the most important damage to the world plan of this movement is the confusion of opinions, the lack of a fixed definition and the literary manifesto. This article tries, while criticizing and analyzing the proposed names, to suggest a new name that includes all subcategories of this movement, and finally, according to the prominent poems, regardless of the names and fame of the poets, outlines the structure of this type of literature. Provide.

Romantic imagination has been the underpinning philosophy of almost all of the later intellectual and artistic movements until present. Romanticism, thanks to wide arrays of definitions as well as examples attributed to it and also due to its paradigmatic shift in man’ s perspective from “ general ego” to “ individual ego” , in one form or another is permeated in most of literary and artistic schools and movements. Romanticism, which originally was the outcome of its opposition to the strict framework of classicism, reappears more protesting than ever in Postmodernism which is in itself the outcome of man’ s frustration of modern principles and frameworks. The present article with a comparative approach, while focusing on the similar literary features of Romanticism and Postmodernism in Iran, aims to explore and investigate the correlation of these two movements. Studies demonstrate that postmodern poetry both thematically, in its protest and denunciation, and formally, in its linguistic deviation, has a close connection with the black Romanticism of 30s and language-oriented poetry of 40s. By incorporating the formal pattern of postmodern writing and adopting a polyphonic poetry, it strives critically to appropriate the old Persian poetic style for the new worldview and offer its own distinct poetics.