Despite many thinkers have written about POSTMODERN ethics, a determinate answer to the question "what is the ethics of POSTMODERN?" is not found. POSTMODERN approaches to ethics are as vague as and as complex as POSTMODERNism, itself. None of ethical normative theories have been supported by POSTMODERNists, except Aristotle's theory. POSTMODERN ethics is based on, the ambiguity of human identity, the collapse of moral authority, incredulity toward traditional meta-narrative, lack of a universal standard and irrationality of moral phenomena, the characteristics which ultimately identify POSTMODERN ethics as the ethics of responsibility. Describing moral current realities in post modernity, the present essay, explains the ethics of responsibility. In this paper, I have focused more on Bauman's and Levinas's opinions.

POSTMODERNism is a very ambiguous term. It attracted many researchers from different fields of knowledge in the late 1960s. This article explains intertextuality as a critical means to derive its concepts and components in order to understand the hidden layers of meaning in POSTMODERN pluralist ideology. Variable thoughts of POSTMODERN architecture have been divided into two categories— Historicist and Deconstruction— to be able to detect and classify the inner layers of meaning in POSTMODERN architecture. The authors seek to answer these questions: 1. How can we achieve the intertextual relationship between Historicist POSTMODERN architecture and Deconstruction? 2. How can we define Historicist POSTMODERN architecture and Deconstruction into the diachronic and synchronic axes? The results show that Historicist POSTMODERNism uses objective signifiers and moves only along the diachronic axis. This group only imitates the past and its elements have humor and irony in the works. Due to the lack of attention to the synchronic axis, some parts of intertextuality are missing. These include the uncertainty of meaning and multilayered texts, which are principles of intertextuality. Deconstruction moves in both the diachronic and synchronic axes and, unlike Historicist ones, multi-meaning, multi-valued, and multi-layered features are seen in the works. They use both previous and contemporary texts. The method of data analysis is based on causal comparison and the rational analysis of authors. This article is a logical reasoning research that uses reasoning to explain relationships and understand the components of a subjective system after gathering information and understanding the theory of intertextuality.

Metafiction is one of the modern approaches of story writing in POSTMODERN fiction whose origin is generally assumed to date back to the twentieth century. Iranian philologists also believe that the emergence and presentation of this story writing technique largely date back to the contemporary fictional works of the 70s and afterwards. However, the author claims that metafiction techniques have been deployed in Mathnavi Ma’ navi of Rumi. Accordingly, the present study, conducted through descriptive-analytical method, aims at examining the main components and techniques of metafiction in Daghoughi story in Book III of Mathnavi. The questions addressed are whether Rumi could be considered a metafictionist and a POSTMODERN writer and which techniques of this POSTMODERN style are seen in the story of Daghoughi, as a Persian classic text. The findings reveal that Daghoughi story is totally a metafictional and POSTMODERN narrative whose author has applied many components and techniques of metafiction style in its creation including metafictional framing, short circuit, language plays, contradiction, paradox, and adaptation.

Religion is no doubt an effective and determinative part of national identity. Therefore, we may conclude that the POSTMODERNization of religion, has a huge impression on the identity. In this article we try to examine analytically the relation between POSTMODERN religiosity and national alienation. POSTMODERN religiosity is very superficial, consumer, denominationalist and secular. Besides, it is so that we can call it "self-religion". It means that POSTMODERN religiosity is concentrated on self-realization and self-centralization. These characteristics result in national alienation, because they destroy social, cultural and religious patterns. They also obscure the common goals and deprive the society from solidarity which is infused by religion. Pluralism is another result of POSTMODERNization of religion that amplifies the razzle-dazzle of identity and supports the national alienation.

In the contemporary century, Persian poem has got through different and various styles. One of these new styles is Persian POSTMODERN poem, which specially was introduced in early 1370s. However it follows the previous decades’ innovation, but creating according to the western evolution in Iran provides it some aspects that make it distinctive and different from last decades’ poem. In fact POSTMODERN poem is in contrast with classic Persian poem in form, language, content, picture, and literature style. Because of that it has been criticized by many researchers.In this research we tried to analyze the weaknesses and strengths of this kind of poem by studying the style in three levels: language, content, and literature. The result shows that the meaning inattention in content level, extra attention to language and language abnormalities and disorders in language level, and lack of the picture usage in literature level are aspects of these poems. For these reasons it doesn’t match with the test of Iranians who have a strong faith to these elements.

Some internal investigations shows emergence of POSTMODERN family values in our evolving society, before joining postindustrial and even industrial societies. Accordingly, this study examined the POSTMODERN family values and factors affecting it in Tehran. Statistical population was 18 years and above in Tehran and 600 people were selected by PPS and their data was analyzed.The results showed that there are elements of POSTMODERN family values in Tehran that increased from first to third generation and influenced by media, feeling of economic insecurity, celibacy, generation and income.Multiple regression analysis showed 24% of the POSTMODERN family value is explained by these variables. Based on appropriate economic and cultural policies POSTMODERN family values can be prevented. The findings confirm Ingle hart theory of value changes.

Since the late 1960s, a pioneering design approach gradually emerged that is referred to now as the POSTMODERN approach. Design, architecture and in general terms, post-modern art (similar to other cultural forms of post-modernism) have so many complexities that it is actually quite difficult to define a set criteria for recognition, classification and differentiation of post-modern from modern art.This paper, using semiotic theories as analytical tools, attempts to define various concepts and indicators which it then uses to study famous works designed by well-known designers and architects with a post-modern approach. The findings suggest that the signs in post-modern works have gone through major changes compared to their modern counterparts. The best example is the reemployment of iconic signs in post-modern designs.Post-modern works have enormous connotations and their process of semiosis and signification are endless. Moreover, the post-modern designer employs syntagmatic and paradigmatic approaches, allowing viewers to interact with the artwork.Finally, post-modern designs address sensual perceptions. In fact, the greatest function of POSTMODERN designs in terms of communication is their ability to relate emotionally with viewers.