The constitutional revolution was one of the hallmarks of the Iranian modern history and led to a series of groundbreaking changes in the social and political structure of this country; even though, after many ups and downs, this movement eventually distanced itself from its main objectives. The importance of this period has caused many historians and researchers to participate in defining its complications, but among them, Fereydoun Adamiyat has been recognized as one of the first and best. In this paper, we review his works and thoughts with a critical approach and go through the circumstances in which the constitutional revolution formed and evolved according to his historiography. At the same time, his political views and way of thinking and his social background, upbringing, and education are taken into account in order to better understand his stance regarding the constitutional events and their participants. Adamiyat’ s works have more been praised for their comprehensive analysis, rather than criticized, so it seems necessary to write this paper with the aforesaid specific intention.

The narrative Semiotics is based upon the two facts of action and change. Actors often go on by predetermined programs in this field until they reach appropriate meanings. It seems that the dominant discourse is a logical and narrative phenomenon underlying the structure of mythic stories. In this inquiry, we will study the story of the Zahak and Fereydoun from the Shahname composed by Ferdosi from a semiotic perspective and a descriptive-analytic approach to showing that all narrative components of the story go to alter the semantic features. The results showed that the discourse is dynamic, and at the end, the elementary situation changes to a secondary situation. Zahak wishes to attain the throne while Fereydoun wishes to destroy this government: The stages of language transition are described in the four stages of contract, potential, passive, and analytic. The passive-semantic structure of this discourse is dividable into personal, passive and intermediate places according to their locality.

One of the modern theories of literary criticism, which is based on psychological knowledge, is the Archetypal criticism. This theory is based on the views of Carl Gustav Jung and deals with the quality of the absorption of archetypes in the mind of the poet or writer. According to studies, a heroic journey in each person’ s life is possible to achieve individual perfection. Fereydoun’ s story is important because of the ups and downs of his life and the important characteristics that directly affect his personality during events at every stage of his story. The purpose of this article is to study the story of Fereydoun from the perspective of an archetypal criticism based on the intellectual foundations of Carol S. Pearson and Hugh Marr on the twelvearchetypesforawakening the hero within. Adopting a descriptive-analytical approach, the authors try to portray the manifestations of prominent archetypes in Fereydoun’ s story.

Literary criticism is the analysis of the text's semantic layers based on theories that are mostly drawn from other fields of the humanities. The new historicism, which was established by Stephen Greenblatt in the late 1970s and early 1980s, is one of the most current theories in this area. Modern historicism holds that literature and history both have an impact on one another, in contrast to conventional historicism, which speaks of the one-sided influence of history on literature. Modern historians contend that literature does more than just reflect history; rather, the link between history and literature is dialectical rather than reflective. Based on current historicism, library, and document studies, and using a descriptive-analytical approach, this study has looked into and analyzed the story of Fereydoun and Zahak, and has offered a new interpretation of it. According to the study's findings, the conflict between the Iranian discourse and the non-Iranian discourse (Fereydoun and Kaveh) in this story is driven by power, which ultimately leads to the dominance of the Iranian discourse. The characters of this story are each representative of discourse in the story community. Iranian discourse is on the margins and out of power at first, while non-Iranian discourse is dominant and in power. However, by the end of the story, the situation has changed. The plot is driven by the conflict between Iranian and non-Iranian discourse on power. Introduction The story in question was composed as a poem in one of the most sensitive historical situations, that is, the time when the Arab element thought itself superior to Iran and Iranians. The ideological pressures from the Arabic discourse have become more sophisticated throughout this time, and they now want to marginalize the Iranian discourse, which takes the shape of the Shu'ubiyya movement. The space for Shu'ubiyya's Iranian discourse has been constrained by these restrictions from the Baghdad-based authority and its close allies in Iran, notably the Ghaznavid empire. In such a circumstance, Ferdowsi uses the story of Fereydoun and Zahak, which is rich in elements of battle and resistance, to rekindle Iranians' spirit of battle and resistance against the notion of Arab superiority. This story reflects the struggle between Iranian discourse (Feryedoun and Kaveh) and non-Iranian discourse (Zahhak); the struggle that existed during Ferdowsi's period and the Shu’ubiyya movement has been in conflict with what was against Iran and Iranians. Freyedoun, an Iranian aristocrat, is related to Jamshid. Zahak pulled Jamshid down from the kingdom and killed him. Since then, Fereydoun and all other Jamshidis have lost their position in the society and privileges. Fereydon's fight against Zahak is motivated by three different reasons, considering the fact that Zahak also murdered his father Abtin and the Bermaye cow that Fereydon fed on as a child. The reasons were 1) national motivation (saving Iran from the oppressive non-Iranian element), 2) class motivation (restoring the social position and privileges of the Jamshidian class), and 3) personal motivation (taking revenge on Zahhak for murdering Abtin and Barmayeh cow). As a patriotic Iranian, Fereydoun finds Zahak's existence intolerable and feels it is his national responsibility to rebel against the foreign, alien, and oppressive forces that have imposed themselves on Iran. Materials and Methods In this study, an effort is made to analyze the Fereydoun and Zahhak battle story in Shahnameh using modern historicism and to provide a novel interpretation of it. The research is based on new theories and schools, text analysis, and criticism. By using library and documentary studies, as well as descriptive and analytical approaches, we have attempted to offer a novel interpretation of the text under discussion and respond to the following research questions: 1) What are the dominant (in power) and marginal (outside of power) discourses, and what is their connection to power? 2) Why did Ferdowsi favor a particular discourse? 3) What was the reason for it and how did this favoritism occur? 4) What is the relationship and similarity between the story of Fereydoun and Zahak with the history of Ferdowsi's time? 5) What genre and group are the target audience of the story? And 6) what is the intertextual relationship of this story with other Persian literary texts? Research Findings The study's findings demonstrate that the struggle between the Iranian discourse (represented by Fereydoun and Kaveh) and the non-Iranian discourse in this story is motivated by a desire for power which ultimately leads to the dominance of the Iranian discourse. The characters of this story are each representative of discourse in the story community. Other discourses are on the margins and outside of power, but Zahak's discourse is dominant and in power. The effort and struggle between these marginal discourses to gain power and the center gave rise to the story, and these conflicts between the marginal discourses and the dominant discourse (Zahak) serve as its driving force. The element of conflict in the story is represented through disobedience, rebellion, and war. As a poet, Ferdowsi has clearly taken the side of the marginal discourses centered on Fereydoun. Ferdowsi is inclined toward the usage of positive adjectives and phrases. He sets his supported discourses apart from other discourses in this way. Discussion of Results and Conclusions Instead of focusing on the characters' specific historical actions, this story attempts to explore the universal nature of man by narrating the behavior of the characters in a way that makes the reader think about the historical patterns of the members of their society or even the general nature of mankind. As a result, any autocratic, murderous, and cruel dictator may be likened to Zahhak, and every person fighting for liberation from tyranny can be compared to Kaveh. In addition, there are similarities between the characters in the story and historical figures from Ferdowsi's era that are worthy of consideration and come about as a result of how we interpret the story. For instance, Zahhak and the Abbasid caliphs are comparable in terms of race, autocracy, and animosity toward the Iranian race. In other words, the murder, repression, and brutality of the Abbasid caliphs have been demonstrated in the form of the myth of Zahhak. Additionally, there are similarities between Abu Mansour Abd al-Razzaq and Abtin in the Zahhak stories; both of them were murdered by Iranians and are of Iranian ancestry and royal descent. That is, Abtin was murdered by Zahhak Tazi and Abu Mansour by Abul Hasan Simjur of Arabic descent. Additionally, both of their children seek revenge; Fereydon rises against Zhahak, and Mansour, the son of Abu Mansour Abd al-Razzaq, rises against Simjurians and Samanians, and is murdered in this manner.

The perfect man and the clear presentation of his personality are of the topics frequently discussed in the humanities, especially in literature and psychology. One of the theories of personality and new approaches in psychology is the theory of humanism in which man and his attainment of self-actualization are one of the important issues. In the view of humanists, Abraham Maslow's theory which is defined as a hierarchy of needs including physiological needs, security, love, respect, and self-fulfillment is of particular importance. This theory is justified by some literary works, such as Ferdowsi's Shahnameh, which has a human-centered nature. The analysis of the characters of this work shows that the Iranian man, Fereydoun, has achieved perfection in ancient times. This analysis corresponds to the patterns of the developed personality in the field of psychology. Among the characters of Shahnameh, Fereydoun is one of the most popular figures, whose characteristics of self-fulfillment are evident in his behavior and speech. Fereydoun's characteristics, at this level of needs, such as natural self-motivating and simplicity, make him to express his spiritual feelings and emotions; Like the feeling of grief over the death of "Barmayeh", his father, Iraj, and his natural reaction to the death of Salm and Toor. Crossing the deep sea, as a symbol of the journey to self-discovery, and his true comprehension of the King of Yemen show Fereydoun's understanding of reality. Also, Fereydoun, by dividing the world among his three sons, resists the culture that governs society and creates a different rule in choosing a successor. To achieve the values ​ ​ of existence-including justice-he ignores paternal feelings and helps Manouchehr in revenge. His other perfect characteristic is his attention to interpersonal relationships and his accuracy in choosing a spouse for his sons, in which race, color, and political affiliations do not matter. The power to distinguish between good and evil, as well as the distinction between means and ends, is of his other characteristics. Thus he makes the restraining of Zahak a means to a transcendent goal, the liberation of the people from tyranny. In contrast to Fereydoun is Zahak's character. Examining Zahak's personality shows his failure to meet the hierarchy of basic needs and not to go beyond the lowest levels of needs. Zahak's intense desire for delicious food, the growth of snakes on his shoulders, and the feeding of human brains on them are symbols of his hunger and insatiability. Gathering beautiful girls in a harem, homosexuality, or watching the sexual intercourse of others shows that Zahak is not met in sexual and consequently love and affection needs and so he is in the group of psychopaths. The purpose of this article is to represent the character of Fereydoun and Zahak as an example, based on Maslow's theory, which can be a guide in examining all the characters of Shahnameh to find a perfect human being. Therefore, these two personalities are measured based on the characteristics of the Maslow pyramid. The present study, by examining the thoughts and behaviors of these two personalities, introduces Fereydoun as a model of self-fulfilling perfect man and Zahak as an example of personality non-flourishing.

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Fereydon Moshiri and Nizar Qabani are great names incontemporary Persian and Arabic lyric poetry. “Love”, being the oldest, yetmost complicated theme of lyric literature, has a genuine outlook in their poetry. Nizar Qabani- the poet of “women and wine”- blends the traditional and modern view toward women and “love” and portrays a new picture of “the beloved”, a picture that ultimately intends to purify the masculine view of Arab society toward women. His language is so delicate and simple that the society communicates with it so well in many different ways.Although “women and mistresses” are not as significant and outstanding as in Nizar Qabani, the blend of traditional and modern view is well evident in Moshiri’s poetry. On the one hand,Moshiri abides by the current traditional lyric poetry; accordingly, “the beloved” in his poetry is still a cliché and naming “her” is considered as a taboo; on the other hand,women's personality to him is promotedbeyond the boundaries of the “body”. The simple and impossible language of Moshiri is another similarity ofhis poetry and that of Nizar Qabani. This study attempts to study the theme oflove in the works of these two contemporary lyric poets and to compare the characteristics of love and beloved in their works.

Fereydoun Tavallali was among the most significant contemporary artists who established a new genre in Persian satirical writing. Due to such innovations, he maintained a decisive and influential presence in the literary and political circles in Iran for almost a quarter of a century. Despite the passage of time and the obsolescence of the sociopolitical events of that era, Tavallali's satire has maintained its charm for the Persian speaking audience. Seemingly, a crucial reason for the fineness of his satire is his command of text-based and functional linguistics. Regarding functional linguistics, text coherence is considered as a crucial component of literary works. Michael Halliday's theory of lexical coherence and Ruqaiya Hasan's theory of cohesion and cohesive harmony are among the most practical contemporary theories through which one can acknowledge the degree of coherence and magnetism of a work such as Al-Tafasil by Tavallali. This research uses a descriptive-analytical approach to investigate Tavallali's satires, with an emphasis on Halliday and Hassan's theory of lexical coherence. The results show that Tavallali has utilized the elements of lexical cohesion to create the satire in Al-Tafasil in a way that such elements have enhanced the coherence of structure and content of his satire and given more depth to his intended concepts. He has employed word repetition to enhance the coherence of the overall context in a novel way and has also used Saj' (rhymed prose) to create coherence and cohesion among successive sentences. Tavallali’s use of paronomasia, morphological derivations and alliteration has also merged the successive sentences in a solid sequence. Regarding the harmony of words, he has also made an innovative use of congeries, contrasts and synonyms; the use of contrasts is very proportionate and synonyms are used less often. Instead of using -congeries in one sentence, they are used separately in short sentences, which brings about the higher frequency of verbs and conjunctions in the text. Tavallali has thus deepened the internal coherence of the text with an enhancement of musicality and tone and has aligned the language with his political, critical and revolutionary goals.

This article seeks to examine how the Iranian heroes think about peace in Fereydoun story. In this story, several peaceful methods are discussed. The wide distribution of wealth among the needy by Faraanak, the division of the world into three parts and pluralism in the method of governance, and the avoidance of individuality in the division of the world, which is the work of Fereydoun, Emphasis on dialogue in resolving conflicts among heroes and relying on finding a solution to peace and absolute rejection of violence, avoiding the use of military force to resolve disputes, not belonging to the world and avoiding stubbornness and struggle to stay in the power that is the characteristic of Iraj in front of his brothers, paying special attention to justice, and avoiding oppression and tyranny in Fereydoun's actions and speech. What Fereydoun has benefited from, as well as the actions of the words and thoughts of the Iranian heroes in Fereydoun's story, are in line with today's peaceful views.