Fara-Story is one of the literary genres of the school of word originality and is specific to those whose artistic tendency is towards fiction. The first proposed components for Fara-Story are given in 80s ( SH) and in the statement of the “, Third Genus’,book. In literature, before the school of word originality, we are faced with the title of postmodern Fara-Story. The difference between these two types of stories is in the type of attitude and worldview arising from these two schools. This research which has been done by descriptive-analytical method by using library resources, seeks to analyze a Fara-Story text by defining Fara-Story and expressing its characteristics in the school of word originality. Therefore, postmodern Fara-Story has differences in terms of principles such as sounds in the text, type of narration, ending, structure of narration, and so on. The Fara-Story in the School of Word Originality is not a one-dimensional word and is not the result of merging other dimensions.

Feminism is a naturalistic view that considers the gender to be prior to existence. Fara-feminism is a view that prioritizes human existence over all sexist views, but does not denigrate, diminish, or deny gender. That is, Fara-feminism has a feminist, humanistic perspective. In this descriptive-analytical study using library resources, we seek to answer the question of what is Fara-feminism and what does it have to do with the Fara-structuralist linguistic approach? The study found that Fara-feminism is a system based on seven collective-individual consciousness-unconscious spatial, temporal, linguistic, racial genetics, cultural, intellectual, mediaindividual collective consciousness and subconscious as well as psychosexual self-consciousness and the subconscious. Moreover, Fara-feminism is also a branch of the Fara-structuralist School of Philosophy-Linguistics, and just as it considers the word to transcend all textual and grammatical structures, it also considers human existence to transcend all racial, psychosexual, spatial, temporal, and linguistic structures.

In structuralism, poststructuralism and deconstruction, the emphasis is on the accident of language and words. However, in the school of Fara-structuralist linguistics, words have multiple essences that have a multiplicity of beings in the Ma-Dar-Ma (The invented word by Arash Azarpeik-The school of word originality) system of existence, and since structuralists consider language as a subject and a subjective thing, in this regard, we will examine the subjectivity of language and the objectivity of text. The purpose of this article is to examine the question of whether words are substance or the accident and language of the subject or object. And then we will critique and analyze the views of linguists and philosophers in this regard, and finally we will examine this view in Fara-structuralist linguistics and we will find that if the word is given originality and every area of language is considered a matter of logos and consider semantic essence as a Fara-dimensional, Fara-spatial and Fara-temporal matter, so language is not a study of form or accident, but a study of the types of essences of a word and can appear in different forms. Thus, Fara-structuralist linguistics accepts language as a Fara-subject, and critiques the duality of signifier and signified about words, and believes in body and soul, which is a profound truth about words.

In the review of literary approaches and the creation of attitudinal and writing systems, we are faced with four paradigms. That is, reduction-addition systems, eclectic systems, system-likes, and additive-concrete systems. While presenting this division, Arash Azarpeyk considers the horizontal, pragmatic as well as problematic presentation by this concept to be the reason for it, Therefore, in this article, by examining these four systems, we will state that the approach of ecofeminism is an eclectic approach that always tries to consider women and the earth as oppressed phenomena in patriarchal systems. The critical approach of Farafeminism, with regard to the additive-concrete system, beyond all limited frameworks of women-oriented and men-oriented, seeks to present the division of different type of subjects from Azarpeyk's point of view and believes that by changing the male subject to a female subject, ecofeminism is trying to categorize all existences including the earth-in a hierarchical approach and in another field, with a female-oriented view. In naturalistic literature, According to the two fundamental principles of "absence of any dualism" and "absence of any attribution", the principle and foundation of Earthsubjectivity in Orianism is proposed. Earth-subjectivity is a critical approach to all the ideas in which man is known as the identical subject who is always seeking valuation. In this article, which is done in a descriptive and analytical method by using library resources, the naturalistic literature is examined with regard to the approach of the third genus and the presentation of human-centered feminism and human-centered patriarchy ideas.

Fara-text is one of the most popular genres today, introduced by Arash Azarpeyk, and is one of the non-theorized and revival genres that has become a system and a field of literature that is not classified in any genre or poetic or fictional perspective. The Faratext is the return of the avant-garde to the transcendental aspects of all written prose texts-even non-poetic poems-in the tradition of the hiStory of the literature of the ancient nations of the world, which, for all their artistic grandeur, have never been defined in the paradigm of literary genres. Saadi's words are both concise and a mirror of eloquence and rhetoric. Therefore, in this research, by descriptive-analytical method and using library resources, we seek to understand in which literary genre the preface of Golestan and many of its educational lines (apart from its fiction_poetry lines) belong? And with respect to the achievements made by researchers in this work, we believe that they are completely one-sided and the dignity and originality of the word has not been preserved as it should be. According to the components of the school of word originality, the texts in question have transcended the existing frameworks, and finally we see a coherent synergy that in an Orian text, frees itself from the constraints and uses each of the potentials of the word. Thus, the basis of the narrative of such texts is never in the classical and modern definitions of poetry or fiction, but are glorious, literary works which are outside the poetic and fictional ontology. Accordingly, these works are based on the proposed system of Arash Azarpeyk in the Fara-text genre and will not accept any definition other than Fara-text.

In traditional, modern and postmodern literature, we have always encountered a category called woman. In our classical literature, a woman was a beloved with the same height as a cypress, eyebrows like a bow, etc., who in the best of circumstances met her lover in a pub. In the modern period and to a lesser extent in the postmodern period, women poets took critical approaches to the position of women in literature and society. It is important to note that society and, consequently, literature have long regarded women as a tool for society and poetry and have always written about them,But the approach of post-feminism in society and literature, with a critical approach to all dualisms and instrumentalists about women, presents a critical view of post-humanism in which women are seen as the romantic half of human on earth and in literature, especially in naturalistic literature, women are allowed to without denying, rejecting and humiliating the other half of human, that is the man,appear as an independent and unmediated character in society and poetry without having to deal with presuppositions, criticisms, judgments, etc. This article is a descriptive-analytical method compiled using library resources, aims to enable each of the male and female phenomena in literature to have an independent presence in the text immediately and independently of all ideological and theological views, and to narrate themselves in the world of text. The aim is to enable each of the male and female phenomena in literature to have an independent presence in the text immediately and independently of all ideological and theological views, and to flow in the text and to narrate themselves in the world of text.

The discussion of the universals of language is in fact the treatment of the features of language that are found in all natural human languages at all places and at all times. If a text is understood and received in the same way in all languages,it can be concluded that that feature reflects the function of the human mind, so that feature can be used as a universal feature of language. So far, linguists have expressed different approaches to these common features, but the two most prominent views are the approach of Chomsky and Greenberg. Another approach that is introduced during this article is the approach of the school of Fara-structuralist linguistics, which by presenting examples accepted by the language community, tries to express the universals that, in addition to expressing generalities, also justify and explain the development of language in the child. The purpose of this article, in addition to introducing the universals of language, is to introduce an a priori grammar that is the basis of the narrative of all languages. The conclusion is that the universals of Chomsky and Greenberg are based on an a posteriori and conventional grammar, that is, a relative matter cannot be considered as the basis of the narrative of natural human languages.

At the beginning of the 1380s, Arash Azarpeyk, in the book “, Jense-Sevom”,(means "The Third Genus"), broke all the limitations of poetic and fictional poetry for the first time by introducing the “, Fara-Poetry " Genre. The existence of a concrete system, changing the path of literary method to literary truth by adopting direct communication, going forward and reaching the third genus and word-character are the components that brought a new discovery to the fore in the field of Iranian and world literature. By creating an extraordinary platform and by synergizing the fields of attitude and writing, Fara-Poetry is able to invite all poetic formats and systems of Iranian literature, including Classical, Nimaie, Sepid, Azad, etc., together to a peaceful viewpoint. And also, Fara-Poetry without negating or disparaging other literary genres such as plays, screenplays, dialogues, monologues. . . eagerly and unconditionally accepts them and reveals to the reader a manifestation of the endless existence of the word. This research, using the descriptive and analytical method, seeks to express the fact that "Fara-Poetry" as a main genre is so powerful that writers in the field of literature and art can create a pristine works without any restrictions And by freeing oneself from "considering the word as a tool, " it can, unlike other styles and schools, pass through all the poetry-oriented and Story-oriented systems and move towards being word-oriented in the world of poetry, which means the universal authority of the word (Logos) and by a sublime pen and art, introduces him/herself to the world of literature and art.