Structure refers to a connection between segments of the text so none of them is considered arbitrary or random. One of the main differences between Nimaian Poetry and Persian classic poetry lies in their structure. Persian classical poetry usually lacks one main structure and every single couplet of any poem is more or less independent. This is mainly true about lyric poetry like Qazals not about long and obviously narrative poems like Shahnameh or Khosrow va Shirin. The structure of Nimaian Poetry has not been studied thoroughly yet and what has been emphasized generally is the connection between the images. Certain concepts from postclassical narratology can be used in order to analyze the structure of Nima's poems. In the classic or structuralist narratology genres like fable, short story, and novel which have a strong and obvious narrative aspect were mainly the subject of study. In the postclassical narratology, on the other hand, other genres and media which have not such an obvious narrative aspect and were not studied by the classical narratology, concern the narratologists. For example, postclassical narratology tends to study phenomena such as performative arts, lyric poetry, and even music. Eventfulness is one of the concepts from narratology that can help us to analyze the structure of Nimaian poetry. Event is the crucial turning in the narrative text. The structure of Nima's poems usually is based on a plot that ends in an event. Deviation from schemata determines the level of eventfulness. The concept of schema originally comes from cognitive sciences. Schemata are models that are familiar to minds. There are two kinds of schema: Frame and Script. Frames are static but scripts consist of a sequence of incidents. There are three main kinds of event in poetry: event in happenings, presentation event, and reception event. Nima's poems usually contain an event and exemplify all these three kinds of event.

Phenomenology is a flow which its main purpose is reaching to the real recognition of things; a cognition which is pure and is free from presuppositions and prejudices, so that mere and true beings of creatures get the permission, to appear themselves and the interference of mind and its contents stand aside from the pure openness of beings. What is important here is achieving the real and authentic description of things with the reduction of Epoché. Nima Yoshij as a poet who could be named as epoch maker, in his ' letters' and his writings to others, continually concentrates on this point that an authentic poet must see with his eyes and they must learn to see based on concrete and genuine experiences. He also stressed on this point that poem and poetry is the connection with the being of beings and to achieve this purpose, all of the definitions around an event must be pushed away for reaching the entity of beings. Nima's letters could be assumed as his theories about poem which in it, he knows what is important is exact vision and being free from any subjectivity for composing poetry. In this paper, we will analyze this Nima's notions and will compare them with phenomenologist's attitudes.

Influenced by Phenomenology, Iser and Jaus propounded Aesthetic Reception Theory. They believe that literary texts have no potential or fixed meanings, and it is the reader who discovery the meaning by his reading. Iser attempts to formulize the meaning discovery process primarily, by presenting the Gaps and Blanks in literary texts, he makes the readers participate in interpretation the texts as much as the producer of the same texts. In Iser viewpoint, by filling the blanks in literary texts, readers revive those texts. Then by presenting and expanding Omission and Highlighting, Hypothesizing, reading/reader strategy, and expectation horizons, Iser and Jaus pave the way for explaining the meaning discovering process. This paper attempts at analyzing the poem, AY ADAMHA, and its various interpretations in the light of Aesthetic Reception processes. Therefore, considering the introducing and classifying the various interpretations of this poem, readers Reception is analyzed, and the blanks of the texts is scrutinized

Human and Nature are not separate in Nima's ideology, and he does not regard them as two opposite entities. He believes in the unity of human being and the world. He has a humanistic view of existence. Therefore, he portrays Nature with human characteristics. Such a viewpoint influences the poet's language as well, and it highlights "personification" in his poems. In his works, all phenomena and natural elements possess mind, personality, spirit, and sensations. He regards external nature as a reflection of the internal one. As a result, he interprets the world from the point of view of his own feelings.

Description is a kind of expression to introduce outside world. In literature, descriptive rhetoric is used to present an objective image of human's experience of a stage, person or feeling by means of words. It is an outstanding issue in the contemporary poetry and Nima considered it as an important element in the expression of his viewpoint.This research aims at explaining the element of description in his Seriveily poems. In this article, different kinds of descriptions, oral techniques and application of such descriptions have been investigated. The results show that the description in this poem is more objective than to be subjective and oral techniques have more applications than poetic techniques. The application of description includes symbolic uses, aesthetic principles and exaggeration. Nima, in his poem, has been able to depict his poetic viewpoint by creating a harmonic prosaic, as well as giving a close observation, description and narration in poetry.

Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima, as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.

Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literay critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. In this study the authors seek to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, the authors analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the liryc poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, the authors have presented solutions using the theory of text worlds...

Symbols are capable of moving in the range of time and conveying different meanings in different situations. The poets, who have the power of innovation, when they use the last and common symbols, try to save this kind of symbols from content banality through a change in the function of meaning. Content evolution of symbols in Nima's poetry is very obvious and dramatic. Many of the symbols in Nima's poetry were discussed in the classical literature. Even some of them, due to the regular multiplicity in previous works, could keep their position as a public photo of Persian poetry and (macro symbol).Nima used these old and repetitive elements in his poem. But he due to his modern attitude, discovered different layers of meaning in these elements. Words such as night, morning, birds, wind, light, woman, sea, and prairie are symbols that change their meanings in connection with political-social passions of Nima's work and associate different and even conflicting concepts for the reader. How these symbols in Nima's poetry evolved is the main focus of the present article.

The survey of various periods of Nima's poem shows that he gradually trends from romanticism to realism, symbolism and the social symbolism. This article analysis the reason of Nima's approach to this literary schools, according to political and social features of his era and with classification of his poetry into five distinguished periods, it is considered the reflection of the important social events each period in his poetry, along with statistical analysis of his poem and it leads the reader to make the conclusions that the social conditions have had a significant impact on the evolution of Nima's poem and on his achievement to content and a new structure.

Ali Esfandiyari (Nima Youshij) and Ali Ahmad Saeed (Adonis) are among the eminent contemporary poets of Persian and Arabic literature, who had worked on mythology and symbolism. Phoenix, which is called "Qoqnus" in Persian and "Phiniq" in Semitic, is an example of common myths between Persian and Semitic mythology. Showing the transformation of the semantic functions of the mentioned myths during the course of time, while preserving the mystical structure, as well as the way these myths are used as one of the potential language capacities of Persian and Arabic poetry to express the political-social themes of the poet’ s time are some of the requirements for doing the present research. This study has employed a descriptive-analytical method with a comparative approach. The findings of this study indicate that Nima and Adonis, in their poems, have used the myths of ''Qoqnus'' and ''Phiniq'' in a symbolic way, with a new point of similarity, different from the predecessor’ s poetry, which are not only a symbol for the poets themselves, but also a way of expressing the political-social concepts they had in mind, in a way that both poets have used theses myths for a single theme and a similar mission.