This paper is concerned with the relationship between Sadegh Hedayat and the Tudeh party and the party's influence on his works written after 1942, particularly Hadji Agha. We aim to show how leftist discourse has influenced Hedayat. In other words, we demonstrate how a character is constructed by an overruling discourse and that what is created in this novel is not a real man in the real world but a representation of the rules which determine how he can be seen.

Abdul Rahim son of Sheikh Abu Talib Najar Tabrizi is one of the eminent and effective intellectuals of the constitutional period of Iran. This Iranian thought provoker is one of the efficient thinkers of Qajari period in Iran who has tremendously struggled to promote new ideas and raised freedom movement in Iran.Talbof during his life passed through a period which can be known as the period of increasing western dominance on the political, social and economic life of the Iranians. It was at this time when for the first time the problem to adopt the western civilization came under consideration. Therefore the main theme of his work is to acquire western civilization and at the same time he opposes the influence of colonialism.Although Talbof like the other intellectuals is in the favour of acquiring western civilization but he intensely opposes all sorts of superficial paradigms from the west and he believes that adopting the western civilization there should be local assessment. The extent to which Talbof is in favour of acquiring western civilization he criticizes the European colonialism, and provides sufficient information regarding the Russian, English and French colonialism to his countryman. This article tries to explain Talbof Tabrizi’s view regarding the two aspects of BOURGEOISIE western civilization.

This article examines the emergence of the BOURGEOISIE in Safavid empire and tries to answer this hypothesis that: In the Safavid period, especially during the reign of Shah Abbas I (the late sixteenth and early seventeenth centuries), in parallel with European countries, Iran was also going through the process of formation of national BOURGEOISIE and historical capitalism. According to studies, this issue has not been researched so far and most theorists and researchers in the fields of political economy, sociology and political science, in terms of industry and production method, do not believe in the emergence of the historical BOURGEOISIE in Iran, some consider its beginning in the late Qajar period and after the constitution. But according to many historical data that most of which, are taken from the travelogues of western tourists and later other historical texts, Iran in the Safavid period, especially in the period of Shah Abbas I, witnessed the emergence of a method of production and trade system that can be considered it as an example of the historical BOURGEOISIE. The definition of the historical BOURGEOISIE by which the developments and characteristics of the economy of Shah Abbas's period are measured, is formed by Emmanuel Wallerstein. The focus of this research was mostly in the Shah Abbas I period. Also, looking at the art of the Safavid era, it is clear that Iran at that time, intellectually and culturally and only in urban societies, had begun to move towards a kind of materialism.

BOURGEOISIE and liberal capitalistic ways of life that spread gradually throughout 19th and 20th centuries were the consequences of an almost long process. This article, while analyzing the thoughts of two prominent western philosophers i.e Rousseau and Marx, tries to analyze this process and examine the strengths and weaknesses of this kind of life. Quite obviously, Marx harshly condemned BOURGEOISIE and capitalism and, compared to Rousseau who strenuously combined liberalism with the restrictions of modernism, he had a pessimistic standpoint. Still, they both have adopted a similar reasoning about the origins of inequality, though they recommend two different tactics following the exigencies of time and place. In regard to these similarities, the article criticizes the philosophy and ultimate ends of capitalism.

The economic, social, and political changes and developments of recent years have led to a change in the social classes of society. The aim of this article is to examine how the urban middle class is represented in the cinema of the 1390s (2011 – 2020). In this study, class is considered, based on Bourdieu’s definition, to be a combination of various economic, social, and cultural capitals and habits of individuals that also have subcategories. The representation of this class in the cinema of the 1390s has been analyzed with Hall’s constructivist approach to representation. Among the films of Iranian cinema of the 1390s, three party films, Kami’s Party (2013), Atomic Heart (2014), and Khargioush (2016), which represented a specific branch of the middle class, have been selected. These films have been examined using John Fisk's critical semiotics method at three levels: social reality codes, representational codes, and ideological codes. The findings show that these three films represent a branch of the middle class called the new "petty BOURGEOISIE" that, by combining the types of capital and their habits, represent a similar lifestyle. Common cultural-class patterns based on the consumption of signs: Habits whose moral foundation is based on pleasure. This lifestyle is characterized by the lack of a single guiding principle in the field of consumption. A kind of cultural omnivorousness in the field of the consumption of signs is evident.

Recognizing and analyzing the economical foundations of art in renaissance as the basis of a society which mainly aims at individual freedom is of great importance for understanding of renaissance characteristics.This paper strives to cast light on the role of economical system in that era in supporting the big artistic projects.Two economical supporters of art in the middle Ages were church institution and guilds. Church institution, although in renaissance period had been weakened by strengthening humanism, was still counted as a supporter of arts; but the works of art, ordered by church, were not as in the middle Ages following the religious patterns. Renaissance artists, having been affected by new ways of thought, were inclined to express and create those works of arts which both in form and content were humanistic.Decreasing the power of church was parallel with increasing the power of monarchy. Italy, in that time, was not dominated by a central power; sometimes Spanish and French kings had considerable roles in supporting Italian artists. In Italian metropolitans - both dictatorial and republic - artists were enthusiastically supported. The art formed in the realm of republic state had more flexible boundaries than that formed in the realm of dictatorial one. The roots of renaissance, thus, were planted in Florence republic, a city dominated not by a dictator but by associations and groups.Increasing the power of merchant class and the emergence of the concept of nationality in Italy in 14th century has caused the middle class to appear. As this class developed, small and local families changed into big and rich dynasties which grounded significant artistic projects. The works of art, now more than any other time, follow the rules of competition. Middle class, monarchic class and church competed with each other to support humanistic culture and such competition led to the expression of a wide variety of artistic genius.

The novel Her Eyes, the famous work of Bozorg Alavi, is one of the most important Persian novels that deals with the romantic relations between "Makan" and "Farangis" and their political activity in the era of Reza Shah. In this novel, Farangis, despite being a bourgeois, is a revolutionary and devoted woman who saves Master Makan from certain death with her great self-sacrifice. This reading, since its publication, has led left-wing critics to criticize the novel and later to praise it. This article tries to give a new reading of this novel by relying on the principle of "meaning uncertainty" and "the possibility of new interpretations of literary texts" in literary theories such as "hermeneutics" and "poststructuralism" and achieve a new reading of it. A reading that contrasts with the official reading of this novel and introduces Farangis as a shaky revolutionary who, in the most difficult moments of the revolution, betrays Master Makan and the movement and joins the ranks of the enemies of the revolution. The result of the research shows that the novel of Her Eyes, contrary to its apparent meaning, which has led to severe criticism from leftist critics, is inherently faithful to the theory of revolution in the school of Marxism. In our opinion, there are many in-text cues in this novel, on the basis of which a new reading of it can be offered, which is in line with Marxism's theory of revolution.

The central issue of Ashraf in reviewing Iran's history is to explain the historical obstacles of the formation of the capitalist system of the BOURGEOISIE and civil society. Ashraf to Description of the above problem has used the concepts of "Asian system" and "feudal system" in Marx's thoughts, and the concepts of “ Patrimonialism” and “ the Oriental City” in the sociology of Max Weber. As he has used the native concept of the "Muluk-al-Tawaiifi” to analyze some of the characteristics of the social and political life of the nomadic societies and their effects on social and political life of Iran. Ashraf, one of the representatives of the discourse of democratic and capitalist development pattern based on the role of the middle class or BOURGEOISIE. Ashraf's views on the historical barriers of Iranian society development are remarkable at three levels of political, social and economic interconnectedness. The dominance of Asian systems and the patrimonial and the Muluk al-Tawaiifi in the political arena, Nomadic, rural, and urban community associations in the social arena And the unity of the methods of agricultural production and handicrafts were the factors that Ashraf has raised as historical obstacles to the realization of feudalism and the growth of "national capitalism" in Iranian history.

Man is Man is a reflection of Brecht's attention towards Marxism in the mid twentieth century. In this drama, he tried to convince the audience that to adhere to Marxism, there must be a social change. In Man is Man Brecht tells the story of the transformation of a character who is not able to say "No". In the very long run, this character forgets his identity and selects a new one. In this way, Brecht's inclination was to create a grotesque of realization in the spectators so that they would launch social and political changes.

sahabi، s perception on the causes and factors of undevelopment & national development on iran This article attempts to study and analyz the Ezatollah sahabi، s perception on the causes and factors and way out of undevelopment of iran through political economic vision. This article is based on the idea that he is affected In the field of theoretical teachings of Friedrich List and from Practical aspect the experience of the Mossadegh government non-oil economy. In his opinion, In the world based on colonialism and looting for "Iran" no choice except to move in the direction National Development along with the development of "nation-state "national BOURGEOISIE" and reliance on domestic capital and strengthening Patriotism at the same monitoring Government institutions. therefore, the expansion and strengthening of democracy and public freedoms inseparable part National Development Project. Native and Independent development Consider Sahabi is Independent process from international capital and relies on efficient and developor government, national BOURGEOISIE and Civil Society Is based on the productive capacity of foundation and Industrial and Creative and productive work culture