Iranian national epics – especially Shahnameh- are up and down of Iran history in Iranian attitudes in the way they do exist; or else, in the way Iranians want or suppose them to be. Such masterpieces could be studied from different perspectives. One of these perspectives is contextual study of these works on the basis of Literary Genres. Although epic is independent, because of its broad subjects, there could be some other Genres in it. Through an exact study of ten national epics of Iran (Shahnameh, Garshaspnameh, Borzoonameh, Faramarznameh, Banoogoshaspnameh, Shahreyarnameh, Bahmannameh, kooshnameh, kok e koohzad and Jahangirnameh), there seems to be up to 46 Genres overlapping with each other.

In recent years, the publication of Literary works in digital space and virtual networks - which we named as virtual literature - is increasing and expanding. This type of literature takes on a new color every day with the invention of new communication, information and multimedia technologies and therefore has special features. Due to the change in the context and method in virtual space, Literary works are presented in terms of features, elements and Literary Genres, different from written and traditional literature. This article seeks to use the argumentative method after describing the facts in the virtual literature paradigm to provide the necessary reasons for measuring this hypothesis based on scientific theories: "Virtual literature as a new theory in the digital age." It has characteristics, elements and Genres that distinguish it from written and traditional literature." The results of this research indicate that in virtual literature, virtual poetry or hyper poetry and in prose, hypertext fiction are used more than other types of literature and have a prominent place in multimedia Literary productions.

Each Literary genre can contain other Genres. Attars poems have different concepts and meanings as well as didactic aspect. Being aware of concepts and Literary Genres of these works and whether a frequency of a Literary Genres and special poetic concept are identical in all poems necessitate the investigating of these works team the Literary Genres point of view. Twenty-eight Literary Genres and poetic concepts were found by investigating and carful studying of four poems of attar (elahi nam-e, asrar nam-e,manteq-al-teir, mosibat nam-e) and as a result the exact statistics of each kinds and concepts in each poem and also overlapping of them with each other were concluded.

In the present paper, syntactic omission convections in English are investigated on the basis of Dixon (2005) in translations from Persian for their being rendered explicit through translation. The data of the study entails Persian Literary texts from different Literary Genres, namely fiction, poetry, and drama. The study is in line with that carried out by Olahan (2001) which explored syntactic omission conventions in the translated English corpora of BNC and TEC. The present research is an attempt to investigate the findings presented by Olahan yet across three Literary Genres and to inspect the behavior of optional syntactic explicitation pertaining to fiction, poetry, and drama translations. The results of the study revealed that explicitation of syntactic optional structures is a prevalent norm in modern Persian-English translations of Literary texts and that among the proposed conventions, explicitation of the complementiser THAT followed by that of relative pronouns proves the most frequent in all Literary Genres; yet, in other sub-categories, our findings do not confirm Olahan’s. The findings reveal that explicitation is applied as a Literary device in Literary translation.

The categorization of Literary Genres is quite necessary and essential for a high variety of Literary discussions and debates. For instance writing the history of literature in terms of the modern approaches and attitudes is not possible without defining the major Genres first. This issue is also true in other domains of literature such as Literary criticism and content analysis. The subject matter of this article is formed precisely within this point of concern; designing a model for the categorization of Persian Literary Genres in the classic era. All the Literary works are generally divided into two scopes; poetry and prose. The domain of "Persian Poetry" can be categorized within three main Genres; epical, lyrical and instructionalinspirational. Our definitions of these three mentioned Literary Genres do not necessarily correspond with the definitions of the Greek scholar The three Genres of interest are redefined in the present article, while examples of their subdivisions in the Persian literature are defined. The Persian "branch of prose writings" includes Literary works, nonLiterary works and pseudo-Literary works. As a Literary researcher, I am obviously concerned with the Literary and pseudo-Literary writings. Once each category is defined in this article, the Literary writings are observed within two Genres; "narrative-based" and "non-narrative" Literary writings. The definition of each type, with examples; in addition to suggesting their subdivisions in the Classic era, all have made another part of this article. Since the contemporary prose and poetry possesses a particular poetical base, categorization of the variety of Literary Genres demands another opportunity, and our suggested design can merely be applied in the classic Literary Genres.

The present research is an analytical-theoretical and practical attempt to address and examine different Literary Genres practically in written Kurdish Literature. The exploration of Literary Genres in world literature has an old history, and with the emergence of new Literary trends, valuable research was conducted in this area; however, there are only a few attempts in this field concerning Kurdish Literature. In the first part of this paper, the prehistory of the studies – from Aristotle to new approaches like that introduced by Gerard Genette – is investigated. In the second part, the challenges regarding the different Genres in Kurdish literature are elaborated. The views of contemporary Kurdish scholars are also evaluated and criticized. Furthermore, the challenges of term-formation and their categorization in Literary Genres are critically analyzed while focusing on the challenges related to the expression and identification of them in Kurdish literature. To do so, the author has examined the Kurdish sources related to Literary Genres. Kurdish researchers initially divided poetry into two types: Lyric and Epic. Dramatic poetry, as the typical western genre, was later added to this categorization, while it did not have much representation in Kurdish classical literature and mostly emerged in the twentieth century. This classification was later reviewed by contemporary Kurdish scholars and changes were made, since poetry has always occupied a vast area in the realm of Literary productions. In Kurdish literature, two subtypes of poetry have flourished more than any other type: lyrical and didactic poetry. Narrative poems in classical Kurdish literature have also significant narrative features. The main factor in the development of Literary Genres in Kurdish literature is related to the intrinsic characteristics of the Kurdish literature addresses in this study.

Firooz Shāh Nāme, written in the 9th century A.H., is essentially a book on love which narrates the epic events, and describes the features of brigands and fairy tales. Researchers have done their best to study these features according to the principles and Literary Genres proposed by Aristotle. This article reads this story from the perspective of Old Persian poetics of fiction and concludes that Old Persian folk tales constitute a different genre which originates from an ancient tradition of story-telling. The Narrator, in this genre, makes use of various Literary aspects and categories.

Sometimes, while investigating familiar and common Genres of Persian literature, some unfamiliar Genres appear. These Genres were used mostly in some earlier periods. One of these Genres is Sarapa. By investigating historical and geographical backgrounds of this genre the reasons for its popularity, especially in the period of the Indian style, are revealed. This article tries to introduce Sarapas and analyse their Literary structure and rhetorical aspects. However, wherever it is possible, some of their themes and socio-cultural backgrounds like the aesthetics of the Beloved are also discussed.

One of the key concepts in Halliday’s Systemic Functional Grammar is grammatical metaphor. Halliday introduced three types of grammatical metaphor: ideational, interpersonal, and textual. In this regard, the objective of this study is to examine the extent and manner of the application of different types of grammatical metaphor in Literary and scientific texts in Azerbaijani Turkish from an ideational perspective. To achieve this goal, and for the analysis of the scientific genre, the book Dil ve Dilçilik by Ali Dashqin was selected, while for the Literary genre, selected articles from the journal Ana Varlıq were analyzed. The results indicate that no significant difference was observed in the frequency of ideational grammatical metaphor between the two Genres. Additionally, the analysis of components demonstrated no significant difference in the frequency of nominalization and transitivity grammatical metaphors between scientific and Literary Genres. Based on these findings, it can be concluded that grammatical metaphors equally contribute to the enrichment and clarity of concept presentation in both scientific and Literary texts in Azerbaijani Turkish. Therefore, the present study, by providing sufficient evidence from both texts, aims to introduce grammatical metaphor as a criterion for examining and understanding scientific and Literary texts.

This book deals with interaction which is one of the important criticism problems related to Literary Genres. Interaction is regarded as a perfect standing for Literary Genres. The researcher Basma Aros tried to examine this idea and Maqā mah and how much this prosimetric Literary genre accedes to interactive reading. Choosing Maqamah as a project for this study was a conscious choice because Maqamat is regarded as the basis of the Literary Genres, and it went beyond other prosimetric Literary Genres. We chose the book “ the Tiger and the Wolf “ written by Sahl Ibn Haroon because it contains conflicting interaction be embodied in an interrelated genre approach. To accomplish this study, the researcher also worked on Maqamat "Badi Al-zamn Al-Hamadzani" and Maqamat "Abi Qasem Al-hariri. According to the descriptive-analytical method, In this critical study, we will focus on the mentioned book to reach some points of conclusion which reveal the rank and importance of this book. Our results show that this book aims at disclosing the secrets of interactive relations among Literary Genres and their contribution in changing the viewpoint to the Genres and their role in the interactive course. In order to show the role of interaction in reading prosaic texts through applying old and modern opinions, the researcher chose the Maqam genre because it includes an exciting genre interaction.