In Persian literature, despite many researches, there is still texts that cannot be categorized into any of the well-known LITERARY GENREs. This ambiguity is resulted of the negligence of scholars, rather than the nature of LITERARY GENREs. Karava (Worksong), which can be considered the oldest type of literature, is one of these neglected types in Iranian literature. A GENRE that goes beyond the origin of speech and was born with the first human effort to make a living: work. The first manifestations of this type can be found in the meaningless sounds that were chanted at work. It can be said that the work songs or chants as the initial form and name of this type. The study tried to introduce this GENRE completely and accurately for the first time,and then, by analyzing the LITERARY and semantic structure of this ancient type, paved the way for further researches. In this article, we intend to introduce this GENRE completely and accurately for the first time,and then, by analyzing the LITERARY and semantic structure of this ancient type, we pave the way for further research.

This article studies the basic themes and subjects related to discursive GENREs and LITERARY GENREs which include: 1. The recurrent GENRE of speech acts which is the source of producing speech in similar situations; 2.any speech that depends on certain GENRE (s) in a way that it is impossible for poets to create their totally independent GENREs; 3. Writers and poets can’t create their works except by benefiting some LITERARY GENREs, although creativity is always a crucial item in their works; 4. In modern LITERARY theories, the dynamic nature of LITERARY GENREs is emphasized up to the point that it may cause its death; 5.a specific text or speech might be related to some or several GENREs; 6. LITERARY and discursive GENREs do not limit themselves to categorization but they possess an interpretive function and make a link between the speaker and the addressee.

LITERARY GENREs in Persian literature are divided into three Epic, Lyric, and Didactic types. Each of these main types includes sub-branches; the didactic GENRE has several sub-GENREs, one of which is the GENRE of the dream interpretation (Dictionary of Dream). The issue of the present paper is whether Persian dream interpretation can be considered as a sub-GENRE and why. The results of the research show that Persian dictionaries due to: subject, plurality, variety, and LITERARY characteristics are a GENRE. Independently written dream interpretation (Dictionary of Dream) have the most characteristics of the didactic GENRE, but the abilities that come from other GENREs are epic and lyric, the theme and features of these GENREs can be found in them. The GENRE of dream interpretation (Dictionary of Dream) is rooted deep in history and myth, but it can be said sacred texts: Torah and the Quran are the most important origins.

Today, the LITERARY critics divide poetry into four main kinds. They are epic, dramatic, lyric, or didactic poetry. In order to determine the LITERARY GENRE of a hymn, its definition should be considered. It is a sort of poetry containing silent prayers, the statements of being needy and impotent, etc. praising the greatness of God. it is also per formed in the purity of heart and the tenderness of feelings. Since there are strong elements of feelings and sentiments, from the viewpoint of LITERARY GENREs, the entity of a hymn is a lyric one. On the other hand, considering the Persian hymns containing a kind of advice, they are called didactic lyric as well. The prevailing sentiments in the Persian hymns are the senses of being needy and important toward God as well as being hopeful for His forgiving, mercifulness, etc.

With a variety of themes, approaches, functions and poetic forms in different periods of history, Shiite poetry has stabilized itself as a kind of continuous and dynamic flow. The lovers of Ahl al –Bayt have created the most passionate and diverse themes, and forms of Shiite literature before the establishment of Safavid dynasty in spite of obstacles and threats. Despite the lack of comprehensive research done in this field , the recent and new-born fields of research in this area shows the significance of Shiite poetry and its themes either in form or in function and can enrich the diversity of forms in Persian literature. The authors have tried to introduce the genesis of GENREs and sub-GENREs of this field according to samples extracted from manuscripts. This LITERARY GENRE has been totally current among the lovers of Ahl al –Bayt in Shiite residential area (town, alley …). By this means, they were trying to prove their love for Alī ibn Abī Ṭ ālib. The division of this type is based on the content and thesis that have been cited as the title at the beginning of the lyrics, a title that has become a kind of LITERARY language in our religious literature over time and over the course of rehearsals. The purpose of this article is to introduce and revise the type of "Velāyat Nameh" according to divans and manuscripts that are given as witness, for instance as new types of Shiite poetry.

The study of the evolution of LITERARY schools and comparing the principles and characteristics of different schools is one of the important fields of research in the comparative literature. Meanwhile, the contrast between classicalism and romanticism in the theory of LITERARY GENRE and their different approaches to this category, is very significant. The authors believe that there are both intellectual and social principles in these two schools that theory of the LITERARY GENRE of the schools, in spite of the plurality or apparent differences, is based on these principles and a large part of the contrast between these two schools is also the result of the opposition of these principles. This research is based on an analytical-descriptive approach and want to explain the principles and foundations in the context of intellectual and social conditions, its impact on the theory of LITERARY types and, ultimately, the comparison of these schools. The results of this research show that the theory of essentialism and different perceptions of the theory of mimesis including belief of fixed and unchanging laws of LITERARY GENRE, the purity of LITERARY GENRE, as well as the belief in the existence of hierarchy among LITERARY GENRE and the superiority of types of narratives such as tragedy and epic, is the basis for the formation of the general principles of the theory of classical LITERARY types of classicalism. In contrast, the components such as historicism, attention to the genius of the poet in the creation of LITERARY work and the tendency toward individuality has led to the formation of a new theory of GENREs in the romanticism which it is based on the rejection of rules governing LITERARY GENRE, the combination of existing LITERARY GENRE, and the consideration of other LITERARY forms, especially the lyric literature, novel, and the creation of new GENRE.

The importance of manuscripts, in the knowledge society in different historical periods, is something which is not covered by anyone. Our LITERARY texts contain information's from customs, traditions, culture and beliefs of each period and illuminate the way of knowledge intellectual evolutions, political and its government structures to us. The present study introduces one of the manuscripts of library of master Jalal Homayi called "Alfiyye" which in according to homayi inclouds parody and burlesque. The present article introduces his manuscript and discusses about the theme and its LITERARY GENRE.

The present research analyzes the metadiscourse markers in the works of Houshang Moradi Kermani, one of the prominent authors of children and young adult literature. It examines the trend of changes in these markers over the period from 1971 to 2021. This study, based on Hyland's (2005) model of metadiscourse, investigates the interactional and interactive metadiscourse markers in Moradi Kermani's works over five decades. The research method is descriptive-analytical, and the data were extracted using the AntConc software. Statistical analysis of the data using Kendall's test shows that over time, the use of interactional metadiscourse elements in Kermani's works has increased, while interactive elements have decreased. This trend indicates the author's effort to strengthen the connection with the reader and personalize LITERARY texts over time. The results of this study can contribute to a better understanding of the rhetorical changes in children's and young adults' literature and show how authors in this field adapt their writing style to cultural and social changes

The importance of manuscripts, in the knowledge society in different historical periods, is something which is not covered by anyone. Our LITERARY texts contain information's from customs, traditions, culture and beliefs of each period and illuminate the way of knowledge intellectual evolutions, political and its government structures to us. The present study introduces one of the manuscripts of library of master Jalal Homayi called "Alfiyye" which in according to homayi inclouds parody and burlesque. The present article introduces his manuscript and discusses about the theme and its LITERARY GENRE.

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.