FORMALISM, as an approach in literary criticism, was introduced in the early twentieth century under the influence of Italian futurism and the contribution of young Russian linguists. Later on, it was spread in Europe and America and gradually found advocates in almost all countries of the world. Iranian literary critics and scholars also embraced this new literary school and incorporated a formalistic approach in their literary criticism.Among modern Iranian literary critics, Shafe’ee Kadkani was the strongest advocate of this new critical trend and adopted a formalistic approach as well as a linguistic approach in his writings. He has tried to discover the secret of literariness of a work of art and illustrate aspects of defamiliarization of discourse from people’s everyday language in the literary works of the earlier and modern scholars. He believes, in line with formalists, that “poetry is an event that occurs only in language” and asserts that linguistics tries to find out “the miracle of words” and show the underlying reasons and causes of the beauty of literary discourse. In his view, literature is a type of language use which departs from everyday language through deviations from the “practical language” and deconstructing language norms. The effects of FORMALISM on Shafe’ee’s works could bediscerned in his poems to a great extent.

In accordance with classical understanding of the principle of separation of powers, the task of a judge is merely to discover the intention of legislator and to apply it to the facts of cases. The motives behind the achieving judicial security and the existence of factors such as syllogistically form of judicial reasoning and the necessity of deduction of all the results from law has led to the traditional tendency among jurists to present judicial syllogism within the context of formal syllogism.Formal syllogism or deductive reasoning based on formal logic, reasoning possesses a necessary process and there would be no true outcome but one, and there would remain no room for doubt. A precise look at the minor and major judicial syllogism demonstrates that the notion of change of judicial syllogism to that of formal, definitive, and objective is nothing but a naive fiction far from achievement. The impossibility of making the legal concept clear and the existence of defects in and of law, as well as conflict of laws, on the one hand, and impossibility of reaching definitiveness and certainty at verification of factual stage of a case, on the other hand, do not allow FORMALISM and change of judicial reasoning into formal and necessary reasoning.Due to the fact that judicial reasoning is unnecessary, these reasoning, unlike reasoning that are subject to formal logic are not free from the intervention of human factors.The type and quality of that intervention and the usage of this flexibility and broadness by a judge are determined by the characteristic features of each legal system and the foundations concerned.

The present article wants to study the composition and form of love mathnavis, analyze the structure of some of them, explicate the style of story-telling followed by Persian mathnavi writers, and illustrate a picture of the context and composition of these mathnavis by presenting evidence from various works, including Abd al-Razzaq Beig’s “Salim and Salma,” which has been recently published. In addition, the article reveals the great part that Hakim Nezami Ganjavi has played in spreading this style and also shows the status of Abd al-Razzaq as a follower of Nezami in composing mathnavis and in his mathnavi of Salim and Salma.

A null thin shell immersed in a generic spherically symmetric space-time is studied within the distributional FORMALISM. It has been shown that the distributional FORMALISM leads to the same result as the conventional Barrabes-Israel FORMALISM.

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.

Although the rise of FORMALISM is rooted in the works Of ancient thinkers, this kindof criticism, asanin dependent school, has emerged in there search area of Russianliteraturein the second decadeof the twentieth century. Victor Sheklofsky was a pioneer in this field publishing the book "Resurrection of Words" in 1914 A.D. This school was emerged against Romanticism, and "Opening the secret of literalism" is a distinguishing characteristic of this school. Formalists pay attentionto the text at first. According tothem, the literaryfeaturesof thetext related to defamiliarizationoflanguage andthe new orderis associatedwith the form.Abolghasem Shabi, is one of the famous Tunisiancontemporary poetsand a representative ofRomanticismin Arab's contemporary poetry. Inhislyrics the signs of love, nature, hope, fearand the destiny can be seen. One of the distinguishing features of his poems is defamiliarity whose methods are synergisticregulation, attention to thesymbol, normviolationsinrhyme, unity andharmony inpoetry, beautiful and novel combinations etc.Thisstudyis an attemptto examine the practices ofdefamiliarisation in Shabi' spoetryby providing a short introductionon thetheoryandthe critique ofFORMALISMandits principles. However, the main question is whether there is any examples of defamiliarity in Shabi's poems and if there is any which methods are common in it.

Background & Objectives: Despite the physical limitations encountered by individuals with visual impairments, there is ample evidence of the group's emotional connection to the act of painting. Blind individuals receive no visual data to understand the surrounding world. This is because they lack sight,through other senses, they perceive and visualize the surrounding world. This population lacks a sense of sight,thus, mental imagery replaces any visual imageries. Individuals with visual loss create an image in their minds by analyzing sounds, smells, and tactile analysis of objects and their surroundings. Thus, their paintings represent an embodiment of the world around them. The current study aimed to analyze the paintings of individuals with vision loss using a formalist approach. Methods: Initially, a summary of formalist critique concepts is presented. Then, the main features of blind arts are described based on the findings of field observations. Next, these data are analyzed from the perspective of a formalist critique. The statistical population of this study was 10 individuals with visual loss, aged 12–, 18 years. In one year, 10 paintings were selected among their works,accordingly, a total of 100 paintings were studied as a case studies sample. The quantitative data were analyzed based on visual characteristics, such as point, line, surface, volume, texture, color, scale, dimension, and formalistic load movement. The collected data were analyzed by descriptive statistics and per theoretical knowledge. Results: The present research results suggested that in the paintings of the examined individuals, the colors were mainly used in pure form and the main colors, including yellow, blue, and red (73%),the paintings were prominent and textured (85%),the frequency of dots was higher than straight lines (67%),their paintings were often drawn in two dimensions (87%),the extent of the observance of real proportions in their works equaled 42%, the movement was observed in their works (58%), and the use of light shadows in their works was very limited (15%). Furthermore, the 12 features of the visual analysis extracted from blind paintings with an emphasis on 9 visual features, including point, line, surface, volume, texture, color, scale, dimension, movement can be cited and form–, based. These characteristics consisted of transparency, low detail and representation of the whole subject, movement and rhythm, mental realism, symbol and symbol, abstract basis, co–, institution, lack of perspective, descriptive point of view, composition, color, and deformation. Conclusion: The images and forms used in the painting of the examined participants, regardless of the representation of objects, can also express thoughts, feelings, and emotions. The simplicity of lines and shapes in the painting of the individuals with vision loss, and features such as lack of proportion, transparency, as well as the explicit and direct transmission of the message in their painting, are of particular interest.

There is two different approaches to Montage among Formalists, First one explains montage as resolving of the material into its elements and subsequent building from them of a filmic whole (Constructive Editing). In second approach, Montage is a Dialectic process to make meaning from a conflict. In this article we want to compare these approaches and look for differences and similarities to unify two opposite approaches. First of all we need to know how they approach to Material of Montage (or Movie), Form and finally to Process itself. So we have few questions: How different is Material of Montage in each approach? Which Concepts are similar between two approaches? How we can unify those approaches? How different approaches to montage it-self makes differences in methods of montage.To find answers we will study Eisenstein's Film Form and Film Sense also Pudovkin's Film Technique and Film Acting and some of their classic movies. At the end of this article we hope to achieve an united formal approach to Montage of movies.