This article, first takes a formalist approach and attempts to achieve two goals: defining the term defamiliarization, its essence and function. Then, it illustrates one of the prosodic features of Naser khosrow's poetry which could be considered as an appropriate example of rhythmic defamiliarization. For this purpose, seven meters from his Divan, of which rare meters are usually called unpleasant/ unfamiliar, will be discussed, and, according to their different structures, they will be categorized into two groups: one incorporating six meters, and the other containing only one. The meters of the first group which are mainly analyzed in this study have different length from their current forms. When a poet such as Naser Khosrow employs these infrequent meters in his poetry, it sounds odd to most of Persian readers who are accustomed to the ordinary rhythms. This can be called rhythmic/ prosodic defamiliarization.

Defamiliarization is a term that, at first used in literary criticism by Shklovsky, the Russian formalism critic and then considered by formalist critics such as Jakobson, Tinyanov and the likes. Jan Mukarovsky used the term "foregrounding" in this meaning. Defamiliarization includes any methods that author take advantage of them to make the world text known to the addressees and indicate the literature subject in such a way that as if it didnt exist before. These methods will result in delay and expansion of the context meaning and so the readers will enjoy and take advantage more. Defamiliarization should be assessed by the standard language and the time of using the literary techniques by the author. In the contemporary history of Iran, a kind of style has been created by Yadoullah Royaee, the contemporary critic poet, whose prominent features includes Defamiliarization. The verses of Yadoullah Royaee are studied based on the formalist theories as the as the method for this study in this article

Abbas Nalbandian, as a formalist pioneer author had a great influence on the contemporary theatre in Iran. His main concern in his playwrights and literary works was form. Defamiliarization is one of the most important issues which was greatly emphasized by formalists, especially, Shklovsky. This eminent property of Formalism is observed in the works of Nalbandian prominently. Nevertheless, in few studies of his works, content has been considered more than form. So, in this article, it is tried to study and analyze the different dimensions of defamiliarization in the works of Abbas Nalbandian with emphasis on the lexical, semantic, written, stylistic, temporal, and syntactic deviations while the paratextual defamiliarization has been accounted, too. Therefore, this research aims to explain that how defamiliarization and deviation had appeared in the works of Nalbandian? What types of deviation have had a higher frequency in these works? and what are their grounds and causes? Is the deviation frequency in paratextuality a determinant factor as well as the other six mentioned dimensions? The results of the research indicate that the written deviation (according to author's deliberate misspelling) has a high frequency in the studied works. Regarded the semantic deviation, contrast and repetition are greatly emphasized. Moreover, author's deviational approach toward the components of paratextuality is so prominent that they should not be neglected seemingly.

Defamiliarization Means Egression of Acquaintance and Accustomed Egression that Followed the Reader or Listener the Surprise after Asks it. Thus Poet or Scholar with the Elimination of Repeats of the Languages Face, Create Beautiful and Influential Language, Because Words Due to Our Repeated are Normal so do not See them, Tip Poet and Scholar in the Habit of Speaking and Create a new Language. For This Purpose, The Poet or Scholar Need Tools Language That Most of Them are Metaphors and Two Types of Defamiliarization Aids Occurs: 1-Replacement (Whose Metaphor is Central) 2-Combined (Which Happen in Inversion, Favor, Remove and Adding). Naturally had to Brand Each Backtrack Unaccounted Defamiliarization but Considered Phases of Language Audibility and Brought Metaphor in Language is not Create Poem but it have to an Effect on the Reader and Too have a Beautiful Effect Until Enjoy it.

"Because of the prolific usage of the aesthetic problems, they have become something ordinary to our mind and have lost their effect; but through defamiliarization we can use them once more." (Shamisa, 1383: 158). Ahmad Azizi is one of the poets who have used defamiliarization and norm-deviation techniques remarkably in his poetry, and it has caused beauty and strength in the poetic language and influenced the mind of the reader. The most important manifestation of defamiliarization in Ahmad Azizi's poetry is the norm-deviation in the domain of expression, style, syntax and meaning.We'll deal, in this research, with studying the different examples of defamiliarization in Ahmad Azizi's poetry and will bring evidences on it.

To remove the sense of habituation from words, the poet sometimes make changes in word combinations as well as structure and syntax. This de-habituation is called defamiliarization, which aims to impress the reader by giving him/her a sense of pleasure. To that end, the poet distort the familiar world of language by using the words other than their normal and habitual way, which is indeed the language of poetry. Defamiliarization is one of the most widely used literary techniques in Hossein Panahi’s poetry. The technique develops the human sensory understanding of life and creates a new world by creating a distance from common linguistic and literary norms. The result of this different understanding and perception provides the pleasure that is one of the literature ends. The conclusion is that, by examining the poems of Hossein Panahi, in addition to finding examples of what have been enumerated as foregrounding, we find examples that de-familiarize the language. Most of the manifestations of defamiliarization are in the form of phonetic names and spoken language at the phonetic level, and expression of visual scenes in language at the metaphorical level. He also used the syntactic and lexical potential to cross the normative boundaries of the current language. This research, conducted by content analysis method with a descriptive-analytical approach, examines the poems of the contemporary poet Hossein Panahi from the perspective of linguistic and rhetorical de-familiarization. The analyses revealed that Panahi’s poetry depicts various forms of deviation, among which syntactic deviation, repetition, conceptual defamiliarization were discussed and examples were provided. In Panahi’s poetry, defamiliarization has both helped to enrich the language and generate beauty and fluency in conveying the message.

The main purpose of Defamiliarization that is usually done through highlighting and breaking the norm of speech in discourse is drawing attention of the audiences to the subject.Defamiliarization disrupts the normal and the expected process of speech.One of the Defamiliarization and high lighting styles of speech is “Apostrophe” (Elefat) that has been used frequently in Nahj-al-Balaghe sermons along with other rhetorical techniques. This makes Imam Alis (AS) sermons more attractive and more effective. In these sermons, the full interaction between thought and speech produce fruitful results and supreme thoughts flow through the selected word, and effective and appropriate style.The present study tries to investigate in a descriptive- analytic way the application of Apostrophe (Eltefat) through changes in different styles including manipulation of pronouns, persons and numbers. It also attempt to prove the hypothesis that many kinds of Apostrophe (Eltefat) in Nahj-al-Balaghe have been used considering their rhetorical intentions. These Apostrophes influence different levels of speech behaviors through changes in pronouns, persons, verb tenses, syntactic structures and so on.

Khaghani is a poet with his idiosyncratic style. He has specific thoughts regarding poetry and is, also, a master of science in his own time. Issues concerning faith as well as religious issues are frequently repeated in his works. In his collected works, stories spanning from Adam up to Mohammad, along with diverse expressions and artistic forms caress any reader's mind. The poet puts the common techniques aside and defamiliarizes the setting by means of new methods of expression. Adam with the face of an ardent lover is deceived by the apple of the face of the beloved, and is consequently expelled from Eden; the Samaritan (which has a negative picture in Islamic tradition) gets a white picture and accompanies Moses; Moses and Pharaoh reconcile; the dog in the Seven Sleepers Cave loses its appeal and the story of Abraham and the four birds in the Quran is mixed with the birds of the King of Calah and a new image is formed.It can be said that Khaghani has this virtue of novelty in his outlook that distinguishes him from the other poets. Russian formalists give importance to deconstruction or Defamiliarization in the interpretation of art. In this article, some of the stories of the prophets in Khaghani have been chosen to be studied, although his technique is much more extensive than typical formalist definitions.

Land art was formed in early seventies in the USA. Land art artists take their art works out of museums and galleries and expose them to the audience in the natural environment. Since such art works are displayed in an outer area of museum and galleries and there are formed from natural elements, they were short lived and died in nature. In this respect photos are important to keep a record of them; and thus, Photos merely witness land arts and they became important themselves too. Photos demonstrate the work in books and galleries and make them survive as an art work. Also photography and land art are relatively similar in art work process, art impact, the importance of audience, dealing with reality, and having conceptual significance. This writing attempts to study the role and importance of photography in the artworks of land art artist and determines the importance of the nature of this branch of art in deconstruction and de-familiarization /alienation. The question is what is photo do to de-familiarize land arts? Findings of this study include: art work magnitude, its mortality, and being located out of galleries and in natural environment. Photography immortalizes a mortal and transient work. And in most case the photo of the art work sells best. Today all land arts are generally known by their photos as image publishes and propagates “ tracks” left by artists. This study will conclude from mentioned art works that: the importance of “ the role of photography” to survive the artwork and “ the importance of deconstruction for de-familiarization/alienation” in order to fade the similarities of art works and increase the concentration on environment and art works through methods such as ambiguity in concept of art works, eliminating visual habits, change in magnitude of art works, performing art work out of museum or galleries, evolving the material of art work and merging it in to environment, changing a work to an art work by package or displacement of place or holding it in an unfamiliar environment, more emphasis on domestic and ritual values, emphasis on natural layout, the art of cooperation and team work and etc. there are some related examples of Iranian and foreign works in the current study. Actually de-feminization/Alienation makes it complicated to understand a work of art thus subjectively makes it an obstacle, and this is achieved through the heart of concepts and accepted ideas and their illustration from a different perspective. Artistic de-familiarization/alienation forms by breaking common frames and presenting new ideas and new exhibitions. The point is that this de-familiarization is a process that forms from within, i. e. the idea, and then affects the outside, i. e. the form and appearance of an artwork. In this regard, de-familiarization works as a basic and core component and dominates all other elements. Test method applied for this study is: descriptive – analytical, and in some cases it used case study. Information also gathered from libraries.

Banksy is an anonymous British street artist and political activist, which is known for his satirical street art combine dark humor with graffiti executed in a distinctive stenciling technique. He displays his art on publicly visible surfaces and self-built physical prop pieces. He characterises graffiti as a form of underclass revenge, or guerrilla warfare that allows him to snatch away power, territory and glory from a bigger and better equipped enemy. Banksy’ s works have dealt with various political and social themes, including anti-consumerism, anti-war, anti-imperialism, anti-fascism, anti-authoritarianism, nihilism, anarchism and existentialism. Additionally, the components of the human condition that his works commonly critique are greed, hypocrisy, poverty, absurdity, boredom, alienation and despair. His works usually rely on iconography and visual imagery to put forth their message. In January 2011, he was nominated for the Academy Award for Best Documentary for Exit Through the Gift Shop < /em>. In 2014, he was awarded Person of the Year at the Webby Awards. The main objective of this paper is to first to tracing defamiliarization and semioclasm in the artworks of Banksy. This research is a semiotic case study with a descriptive-analytical approach. Defamiliarization is the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar. Semioclasm begins when the creator of a cultural message, uses the signs with a different signification from their common meanings, with the aim of breaking the ruling conventions of a social context. By analyzing eleven artworks of Banksy, this paper attempts to reveal the methods of defamiliarization and semioclasm in his work. In this regard, we specified three categories: 1. Political defamiliarization and semioclasm: in Napalm Girl (2004, referring to the link between warfare and capitalism as two major tools of American hegemony); Unwelcome Intervention (2005, to protest against all the walls and barriers between people around the world); Rage, the Flower Thrower (2005, to complain about war, bellicosity and carnage); Crayola Shooter (2011, to blame child abuse on battlefields) and Missile instead of Javelin (2012, to protest against political interventions in sport). 2. Economic defamiliarization and semioclasm: in Paris Album (2006, mockery of the celebrities’ greed) and Coney Island Adventure (2018, protesting large companies from seizing property of the poor). 3. Religious defamiliarization and semioclasm: in Toxic Mary (2003, criticizing the ineffectiveness and profitability of the religious authorities); Christ with Shopping Bags (2004, to complain about consumerism); Grin Reaper (2005, to minimize death) and Sale Ends (2017, protesting against greed and shopaholism). The artist in these works, by removing the meaning of known symbols, has been attached a new concept to them. He used alternate codes as follows: Mickey Mouse and Ronald McDonald instead of soldiers, window instead of wall, flowers instead of grenade, Crayolas instead of bullets, missiles instead of javelin, dog’ s head instead of Paris Hilton’ s, growth charts instead of lashes, venom instead of Madonna’ s milk, shopping bags instead of cross nails, smiling emoji instead of skulls, and auction-end billboards instead of crucifixion icon. The main objective of this paper is to first to tracing defamiliarization and semioclasm in the artworks of Banksy. This research is a semiotic case study with a descriptive-analytical approach. Defamiliarization is the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar. Semioclasm begins when the creator of a cultural message, uses the signs with a different signification from their common meanings, with the aim of breaking the ruling conventions of a social context. By analyzing eleven artworks of Banksy, this paper attempts to reveal the methods of defamiliarization and semioclasm in his work. In this regard, we specified three categories: 1. Political defamiliarization and semioclasm: in Napalm Girl (2004, referring to the link between warfare and capitalism as two major tools of American hegemony); Unwelcome Intervention (2005, to protest against all the walls and barriers between people around the world); Rage, the Flower Thrower (2005, to complain about war, bellicosity and carnage); Crayola Shooter (2011, to blame child abuse on battlefields) and Missile instead of Javelin (2012, to protest against political interventions in sport). 2. Economic defamiliarization and semioclasm: in Paris Album (2006, mockery of the celebrities’ greed) and Coney Island Adventure (2018, protesting large companies from seizing property of the poor). 3. Religious defamiliarization and semioclasm: in Toxic Mary (2003, criticizing the ineffectiveness and profitability of the religious authorities); Christ with Shopping Bags (2004, to complain about consumerism); Grin Reaper (2005, to minimize death) and Sale Ends (2017, protesting against greed and shopaholism). The artist in these works, by removing the meaning of known symbols, has been attached a new concept to them. He used alternate codes as follows: Mickey Mouse and Ronald McDonald instead of soldiers, window instead of wall, flowers instead of grenade, Crayolas instead of bullets, missiles instead of javelin, dog’ s head instead of Paris Hilton’ s, growth charts instead of lashes, venom instead of Madonna’ s milk, shopping bags instead of cross nails, smiling emoji instead of skulls, and auction-end billboards instead of crucifixion icon.