In study of done research about classical Persian literature, this difficult is seen that a significant number of studies or researches lacks any innovation and merely repeats the previous studies. We should seek the root of this problem not in classical Persian literature, but in repetition of old approaches to these texts. To solvthis problemm, it can be used from newer approaches to literary criticism such as “new historicism’’. Since the new historicism destroys on the one hand, Literary and non-literary border, and on the other hand, the border between history and literature, The benefit of this approach in studies of classical Persian literature would lead to different readings of literary works and Different readings of historiographical works such as Beyhaghi History as well as scientific and non-literary works. Other advantages of using this new approach are wide range of research in classical Persian literature and their reading's diversity.

New Historicism is a new approach in literary and cultural studies that mainly focuses on the historical background of a text as an inseparable part of it. New Historicists assume that language can form its culture and is organized by it. The concept of language in new historicism is more than word-of-mouth. According to their ideas, language includes discourse, writing, literature, social reaction and any type of social relations.These relations provide a person or a group with the possibility to impose his view or disposition upon the others. Therefore, the text becomes a battlefield where the conflicting thoughts of the author, society, customs, institutions and social acts interact and finally the author and the reader come to an agreement by their perception of them. New historicists believe that there is no difference between a literary text and a nonliterary one, because any text contains some discourses which have a pivotal role in making a culture. From this perspective, the author’s situation, whether cultural or social, creates a work of art; thus, awareness of dominant ideology and discourse can help create a scope for advancing. New historicists consider literature as a place where there is a conflict between non-dominant sub-discourses and dominate discourse. This approach views literary text as a place for the interaction between different discourses (and) demonstration of power relations. Many thinkers have contributed to this approach and Foucault was one of them. In his opinion history was a complicated relationship between different kinds of discourse. Discourse and power are inseparable and power is exerted through language. This approach attempts to portray the interaction between different discourses in a literary text and to show how discourses and texts are influenced by each other. Bahman Forsi has indicated his ideology by social discourses in his play Aramsayeshgah. The theme of the play is rooted in the society where the playwright lived. It shows cultural and social aspects of that ere.Power is presented throughout the whole society. On the surface, the theme of the play seems an ordinary one.According to New historicism social, political and cultural aspects of time are included in the texts created in that time. Therefore, the text or work of art is regarded as a social product. For example, characters in Forsi’s play are wasted intellectuals who cope with their frustration and disillusionment. This paper attempts to show that Aramsayeshgah is a place where different discourses interact. It also tries to find the source of social rules and regulations, the dominant discourse in the text, and show that they are a reflection of social situations and norms in the historical time the author tried to depict.

New historicism refers to an approach that does not accept history as the historians convey. This approach mostly is based on the ideas of the American professor, Stephen Greenblatt, in the eighties of the twentieth century. According to Greenblatt, new historicism presents a new reading of the text, not a school of criticism. New historicism investigates the multilateral relations of the literary works with other texts including the historical ones to clarify their inter-textual and extra-textual aspects. New historicism inspects the relations of power and cultural, social, and ideological constructs. From the new historicist point of view, there is no difference between literary and non-literary texts. The present paper attempts to examine The Silence of the Sea to reveal the author’ s and the history’ s influence in creating the literary work. With the help of Greenblatt and Foucault views, inter-textual factors such as power relations as the main context are studied in the paper as well.

In the 1980s, after post-structural criticism, "New Historicism" appeared through the work of Stephen Greenblatt as a response to traditional historicism. A new historian believes that literary texts have been interwoven with other discourses and rhetoric structures and they constitute a part of the history that is being written. We gain knowledge about this period through works written at the end of the Salgoqian reign in Iraq nearly after one century and it demonstrates the power of historiography in the Saljoqian period. Social circumstances and daily life of people in that time are not clear due to the decay of historiography and limited sources; however, Mohammad Ghazali's letters are one of the significant works of the Saljoqian period which provides a report on discourses and political, social, and cultural issues of the same period and opens a window to the said historical period. New Historicism is seeking a link between literature and public culture of a period and in general, any cultural text. Taking advantage of this theory in rereading and interpreting Ghazali's letter can reveal the timepiece and uncover the latent discourses that are hidden under apparent discourse.

New historicism is an approach that emerged in response to traditional methods and traditional historicism in the late 20th century. New historians consider history a set of conflicting discourses and address the marginalized voices. They believe that what historians write is not an objective recording of the past events but the interpretation and narrative of the past events based on the discourse of historians. Therefore, history has a discursive nature and is a tradition of narration. In 2012 Rabee Jaber the Lebanese novelist won the International Prize for Arabic fiction for his novel “, Druze of Belgrade”, . This thesis tries to examine the novel from the perspective new historicism in order to recognize the relation of text with historical discourses. the results of the study show that there are six discourses represented in this article: the discourse of ottoman government, the discourse of European governments, the dialogue of the Balkans, the discourse of prisoners of prisoners, the discourse of Lebanese Christians, and the discourse of Muslims of the Balkans. It also shows that the novel focuses on the marginalized voices and the victims of sectarian violence and governance, whose representatives are on one side, imprisoned Druze, and by the other, Hanna Yacoub and his family. The novel tries to provide a positive image of Druze, contrary to official discourse of Ottoman Empire.

"Haftwad" story is a multilayered story of shahnameh, Although it included in a section called historical section of shahnameh, but it has been interwowen with mythologic elements and constructed in margin of myth and history. this story with it's origin came back to "Ardeshir Babakan Works", is a section of Ardeshir life befor reaching Iranshahr kingdom. Historical-mythic nature of Haftwad story and its collection of textual and intertextual elements required in various reading and pave the way to reading religious, historical, political and even economic topics with semiological approaches, discourse analysis, and new historicism. The present research aims to review This story from both new historicism and discourse analysis point of view (perspective) having a deep connection with authority and ideology, and to represent its neglected and unsought aspects. In sum, struggle between Parthian and sassanian, contrast of legal and illegal authority, hegemony of financial system and contrast of both Zoroastrianism and Mithraism is motif of Haftwad story in each of such reviews. Also study of elements and signs available on shahnameh narrative and another source of Haftwad story show that source of political and ideological authority has played an important role in formation events in primary source of shahnameh narrative (Ardeshir Babakan Works) and following it in shahnameh itself.

Although literature originates from the contents and ideals of a nation, but it is not limited to its mere use, and creative actions in this field lead to the creation of a new world. Thus, in addition to being influenced by its cultural and historical context, each literary work also can the ability to influence it. New History is an approach that aims to convey this idea and Emphasis on "Text is considered as history and history is considered as text". As the first experience of the horror genre in the field of Iranian children and teenager literature, the khonashamstory collection, by moving imaginary characters on the real world stage, makes the audience watch the real life and its existing discourses in order to increase their level of awareness of the surroundings, It prepares them for face the dangers and threats that awaits them when they first enter. Thus, using a "new historicist" approach, the khonashamstory collection has a lot of remarkable capacity for review. This research seeks to explain by qualitative analysis method and using library studies based on complete induction, can reveal hidden or silent meanings or weak voices of the text in order to reveal the power relations in the text by highlighting the existing discourses and show that how the text of the discourses of its time is influential and reciprocally effective in creating new discourses. As a result, the study states that destiny and patriarchy and the unequal gender distribution of power in the family are the dominant discourses and the discourse of "love", especially love of land and homeland are also among the main discourses of this work.

In this article I will investigate and criticize Nasr Hamed Abu-Zaid’s views and thoughts which are affected by historicism. Presenting some relevant bases of historicism, I will criticize Abu-Zaid’s views regarding the historicity of Quran and some of its teachings and commands.

New historicism is an approach in cultural studies which reconsiders the relationship between history and literature, and emphasizes the historical context of the text as the ground of the interaction of different discourses and power relations. In this study, the anecdote of "The Execution of Hasanak the Vizir", which is considered as one of the most important narratives of Bayhaqi History, is analyzed using new historicism approach, to better represent the role of effective discourse and ideologies in this text. The analysis of this anecdote has been done in two parts. The first part is related to Masoud Ghaznavi, who has the leading role in the plot and tries to indirectly retaliate his hatred of Hassanak with the help of the caliph's old decree. The second part is related to the Bayhaqi who is the narrator of the story and is influenced by the influence of the power discourse of that period, directs the words in accordance with the desire of the Sultan. In describing events with heroism and eliminating Masoud in the process of narrative rupture, while diminishing his role, he added to Busahl's function and justifies Masoud's actions.

As an approach to the relationship between literature and history, new historicism has been well received in Iranian academia. This reception was concomitant with some misunderstandings. A part of the problem is the result of the elusive nature of the approach. Moreover, lack of theoretical works in Iran has led to serious problems. Even though this approach is not a very recent one, it is a novelty in Iran. One of the reasons behind this novelty is lack of sufficient theoretical source in the field. A glance on the practice of new historicism reveals that the keen interest in the field and the lack of sufficient theoretical source has led to some misunderstandings. The present paper tries to correct some of the misunderstandings surrounding this approach.