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.

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.

Mystical language has always been one of the most prominent fields of investigation since the very beginning of its evolution. It has also been taken deep into account not only by the mystics, but also by the researchers concerned. After the flourishing of theorising in the 20th century, and the emergence of the theory of Formalism, due to its analytical and scientific strength, many researchers expressed interest in using the Formalism theory in various fields. Hence, a FORMALISTIC analysis of mystical language might be able to show how language functions in specific fields including Islamic mysticism. Though clear-cut and scientific it is, FORMALISTIC analysis of mysticism in-deliberately closes its eyes upon a multitude of facts. Ignoring such facts, in turn, might lead to a lack of understanding of what mysticism actually is, and therefore reduces it to a mere linguistic phenomenon. This article tries to have a basic understanding of what formalists might call literariness along with a critical analysis of its application in the field of mysticism. Essentially, the methodology applied here is of a structural nature. This methodology focuses upon the single components of language and tries to find out how such components constitute a meaningful proposition in a mystical context, accordingly.

Fabula (story), according to Formalists, is the chronologic sequence of events and actions which is in fact the "whatness" of the narrative content, its material, and potential aspect, while syuzhet (plot), is no longer the cause-effect relation between the events, but the actual aspect of narrative that comprises all the aesthetic and defamiliarising devices that are used to represent the story as something artistic. Formalists, as to their interpretation of the concept of plot, were more concerned with the defamiliarising sides of narration and thus studied it in the categories of language, theme and devices.This article, through reviewing the distinction between fabula and syuzhet according to Formalists, shows their various aspects in some FORMALISTIC Persian short stories.

Formalism is one of the theory of contemporary literary criticism that studies the work from a linguistic point of view. This theory was formed in Russia during the First World War. In 1930nit was the peak of its authority. Linguistic such as Boris Achenbaum, Shklovsky and Jakobson are among the most important figures in the theory of Formalism. The main and main emphasis of the criticism theory in the from of the work, and it does not pay much attention to the content, biography of the author and other issues.    FORMALISTIC analysis of sermon 34 of Nahj al Balaghe is the subject of the present study. The research method of the article is based on the Descriptive – Analytical method, which is examined based on the documentary approach, materials, components and the foundations of Formalism – Structuralism. The purpose of the article is the FORMALISTIC reading of the text of the sermon. Imam Ali's approach to the words and the way it is used in this sermon. The main question of the research is how the author put his mental meaning in the form of words and arranged them to the audience. What is the form of these words and what formal feature does the text of sermon 34 have? Valuable results have been obtained from this study. Omniscient point of view, mastering the type of words, tone, turning the tone and creating a new discussion in addition to words and verbs, the rhetoric of words and the use of special music in the arrangement of phonemesm has given a unique form to the text of the sermon.

This paper studies the process of wh-word movement in Persian according to the universal principle of Move-a, based on the Government-Binding Theory (Chomsky, 1981, 1986). The analysis centers on the optional movement of the wh-word in simple, embedded, and complex interrogative sentences. In this analysis, the principles and syntactic conditions ruling over this syntactical process are determined. Next, the occurrence of the wh-word movement and its A/non-argument nature are substantiated. Also, on the landing -site of wh-word phrase the onset of sentence is demonstrated to be the most suitable and economical syntactical position for the wh-word to attach to in simple and. embedded Persian sentences.

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".

When the elements and different components of a literary work are studied and their relation to each other and to the totality of the work is made clear, a reader can claim that she/he has had a FORMALISTIC reading of the work. Such a reading facilitates commenting on how the elements and components of the work are interrelated (vertically and horizontally). In this paper, the form and structure of a Ghazal (sonnet) of Bidel Dehlavi are re-read, using the intratextual signs. The first line reads: YEK TAARE MU GAR AZ SARE DONYE GOZASHTEI SAD KAHKESHAN ZE OJE SORAYYA GOZASHTEI The theme of this Ghazal which is continuously repeated all through the poem is "advice to return to oneself and put under observation one’s inner self in the bed of the hastening and transitory time". The subject matters of movement, passing, transition and transformation are spread all through the Ghazal. However the link between the lines of the Ghazal is not the sort of link to create a "bodily structure", rather each line of this Ghazal is a separate bead, related to the other beads by a string (the subject matters of movement and passing of time) creating a necklace (a Ghazal).

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.