Romantic imagination has been the underpinning philosophy of almost all of the later intellectual and artistic movements until present. Romanticism, thanks to wide arrays of definitions as well as examples attributed to it and also due to its paradigmatic shift in man’ s perspective from “ general ego” to “ individual ego” , in one form or another is permeated in most of literary and artistic schools and movements. Romanticism, which originally was the outcome of its opposition to the strict framework of classicism, reappears more protesting than ever in Postmodernism which is in itself the outcome of man’ s frustration of modern principles and frameworks. The present article with a comparative approach, while focusing on the similar literary features of Romanticism and Postmodernism in Iran, aims to explore and investigate the correlation of these two movements. Studies demonstrate that Postmodern poetry both thematically, in its protest and denunciation, and formally, in its linguistic deviation, has a close connection with the black Romanticism of 30s and language-oriented poetry of 40s. By incorporating the formal pattern of Postmodern writing and adopting a polyphonic poetry, it strives critically to appropriate the old Persian poetic style for the new worldview and offer its own distinct poetics.

Postmodernism is a powerful cultural, political, and literary movement emerging since the 1970s. The history of human thought can be divided into three periods: premodern, modern, and Postmodern. The third period, starting from the late 19th Century to the present time, replaces the discovery of reality with the creation of reality; during such a period, human contribution in knowledge construction becomes more predominant. This powerful movement is mainly based on theories provided by poststructuralists. Some components of Postmodern poetry are as follows: in Postmodern poetry, meaning is avoided and any type of meaning domination or strange narrative, based on strength of the poet in terms of meaning, is denied; belief in certainty and seriousness as features of art and poetry of the modern period do not exist in the Postmodern artistic and literary school of thought; Form, structure, and meaning would be disarranged through schizophrenic images governing the poem, and its linear structure would be overshadowed. According to its founders, this type of poetry is rooted in the political, cultural, and social conditions of humans in the current era. One of the pioneering representatives of Postmodernism in Iran is Ali Babachahi. His literary works are the best and most distinctive samples for explaining Postmodernism and its language in Persian literature. The results of this article have been obtained through descriptive-analytical research and are based on document mining and library studies, as well as an inductive method based on the findings of authors. The following components would be dealt with in Babachahi poems: avoiding syntax; distracted language structure, the emphasis put on bypassing the wisdom, lack of integration and certainty, etc.

Postmodernism is one of the latest literary schoolsand it is to some extent the latest stylistic evolutionwhich has happened in today’ s literature. This school coincides with some political and social changes in the Seventieth solar decades in Iran, and mostly entered into the literary works, through the translation of theoretical texts and it attracted the attention of a number of poets and commentators. Although this movement is completely new and fresh, it is strange and intangible among some critics and audiences, especially because those kinds of literary works could not be definedby standard works of their kind. This article attempts to discussand understand what has happened in modern poetry, called Postmodernism. So to clarify the complexities and strangeness of the movement in Iran, Linguistic, Semantic, Aesthetic, and Form, in some literary works were taken into deep consideration. And then for further explanation, examples of poets attributed to this movement (mentionedby magazines and genealogy books and critics) were mentioned. This research has shown that, to understand the original examples of post-modern movement, there is a need for a new definition in the field of poetic elements, because some of the topics mentioned do not have a precedent in Persian poetry.

Controversial games and tricks in the field of language of Postmodern sonnet is what has been examined in present study. We have tried, avoiding prejudice, to study the course of language and its games that goes sometimes to the border of waggery and dysphasia. The noticeable point is that the poet confronts language differently in the Postmodern way of thinking, and the researcher faces the overcoming of language and form on meaning and content, respectively. In this view, "language" does not serve meaning definitely, but language and aesthetics can be the ultimate goal of the author, what does not coincide with the aesthetic criteria of traditional scholars. But the most important question about the pathology of Postmodern sonnet becomes: "How justified is the abnormality or norm-confronting of Postmodern poets and their departure from language rules? " It has been tried, in present research, to study the common language games in Iran's Postmodern sonnets to find the answer of above mentioned question.

In the Archetypal critique of Postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of the anti-hero has appeared in Postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of Postmodern poetic narration. The results of this study showed that Postmodern poets are praised as long as the archetype of the anti-hero protests against the social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. Keywords: Postmodern poetry, archetype, anti-hero, shadow Extended Abstract 1. Introduction One of the distinctive features of Postmodern poetry in Iran are open images that reflect the society, individuals and social issues. Direct communication and images without individual and social considerations have caused Postmodern poems to be closer to the inner layers of the collective unconscious mind of society (archetypes). One of the key features of the archetype is the inability to represent the real world directly. "Archetypes cannot be directly manifested by themselves, but when they are activated, they express themselves in different ways, mainly through dreams, fantasies and delusions" (Fiest, 2016: 126). "Among the range of archetypes, Jung believes that some archetypes have a stronger role on human behavior and personality, therefore he introduced them as "main archetypes". Besides these archetypes, there are many other manifestations of archetypes, which are called "sub-archetypes". The main archetypes include: persona (mask), anima, animus, shadow (shado), self (self)" (Hall & Nordbai, 2015: 57). "The archetype of the hero is a symbolic manifestation of the perfected psyche, which has powers that the self does not have. Therefore, the main function of the hero's myth is the self-conscious discovery of one's self, which means becoming aware of one's own weaknesses and abilities in a way that enables "I" to show resistance against external problems. (Jung, 1387: 164).   Due to the two-dimensional nature of archetypes, the archetype of the hero has a negative aspect as well, which appears as the archetype of "anti-hero" in the narratives. He is, in fact, a hero who does not have the characteristics of a traditional hero and usually exhibits behaviors that are seen in the villain of the story. The motivations of the anti-hero are usually good, or the one who thinks they have good motives. He becomes a good character whenever he feels that the situation calls for him to do evil. Contemporary poets after the constitutional period, especially modern poets, due to the non-implementation of popular ideas and ideals, internal suffocation and tyranny, lack of individual and social freedoms, feelings of dissatisfaction and despair and other individual and social concerns, use the character of anti-heroes as an approach to portray these anti-normative themes. This method has been widely used despite the manifesto of Postmodern poets to avoid any structure, meaning and tradition. In the face of such a volume of the anti-hero archetype in the course of Postmodern poetic narration, the question arises: what are the grounds for the appearance of the anti-hero archetype in post-modern poetry? And what functions does this negative archetype have in Postmodern poetry? 2. Materials and methods In Postmodern poetry, due to the poets’ style, we see distinct manifestations of anti-heroes. Some of the manifestations of the anti-hero in the narrative are in the form of references to unpleasant feelings such as fear, disappointment, despair, frustration, inner weakness, complexes, and sometimes in the form of actions such as external violence, protest, being subjected to violence. In Postmodern poetry, the anti-hero appears in the narrative in two ways: 1- the anti-hero who is the main role of the narrative (the focus of negative archetypes) 2- the anti-hero (negative archetype) against the hero (positive archetypes). Although there have been many studies, compilations and translations about the archetype as well as Postmodern poetry, such as Jung's book and his analytical psychology by Farbad Fadai, which is mostly dedicated to retelling Jung's thoughts, as well as the article "Examination and Analysis of the Anima Archetype in Molana's Ghazals" by Maryam Ismailipour; In this article, the researcher introduced the anima archetype and its representation in Jung's unconscious in some contemporary mythologies and literature of Iran and the world, as well as the thesis "Review of archetypes (persona, anima and animus, exemplary mother, self and Shadow) in the poetry of Mahmoud Darwish", by Sosan Ghaibzadeh and the book What is Postmodernism?, translated by Farhad Mortezaei. In this book, the author tries to describe and define Postmodernism. The article "Postmodernism and Contemporary poetry of Iran" by Qadratullah Taheri also deals with the pursuit and the history of Postmodernism. The thesis "Investigation of Postmodernist elements in the classical forms of contemporary poetry" by Arman Mearaji also looks for Postmodern signs in these poems, without looking at archetypes in Postmodern poetry, alongside the classical forms of modern poetry. As can be seen, none of the above sources have made the archetype of the anti-hero in Postmodern poetry the subject of their research. Therefore, this article, using a qualitative approach and a descriptive-analytical method, has tried to discuss and examine the issue of the anti-hero in Postmodern poetry to answer the research questions. 3. Results and discussion In the criticism of archetypal Postmodern poetry, one can see clear signs of collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of anti-hero has appeared in Postmodern poetry in various forms, especially "anima", "animus" and "self", that sometimes the reader cannot distinguish the position of the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of Postmodern poetic narration. The results of this study showed that Postmodern poets are praised as long as the archetype of the anti-hero protests against social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. 4. Conclusion The result of the study of the anti-hero in Postmodern poetry showed that the poets of this style support anti-heroic actions as long as positive archetypes are not harmed. Most of these anti-heroic actions, which are accompanied by external violence, are meant to express protests and rebellion towards society. This group of anti-heroes, in the eyes of poets, are essentially heroes who have performed anti-heroic actions and are also praised. On the other hand, if the anti-hero has abnormal actions or shows his violence towards positive archetypes, he will be criticized, but still the main characters of the archetype do not have the power to confront this anti-hero. In a way, the anti-hero becomes a real image of the shadow archetype in the poem. It was also found that some heroes have anti-heroic actions in Postmodern poetry and instead of playing a powerful role in the narrative, they choose to escape. In the eyes of the poets of this style, if the anti-hero even has a heroic action, he is superior to the hero who chooses to run away and surrender. The extension of this process brings the hero into the stage of "transformation of the hero into the anti-hero" and the result is that the positive archetypes that appear at the beginning of the narrative eventually take on a negative role. Another manifestation of the anti-hero is its combination with the face of the hero. Some narrative characters of Postmodern poetry are anti-heroes and are not approved by the poet in some ways, but aspects of their heroic face are also expressed in the poem and combination of the hero's face and Twin anti-heroes are also seen in these poems. The archetypes that appeared the most in the role of anti-hero in Postmodern poetry are the archetypes of "Anima and Animus". The most common image used in anti-heroic narratives by Postmodern poets is the contrast between "man and woman" in the narrative of the story. Although the anima is a powerful archetype, it is powerless against the power of the shadow in Postmodern poetry. The ideal mother is also a powerful and active archetype in the unconscious mind, but in Postmodern poetry, this archetype, like the anima, shows its credibility shaky. In general, it can be said that the border between the hero and the anti-hero in Postmodern poetry is very close, and the anti-hero appears only in situations where the destructive element of the archetype of the shadow has more control over the individual's subconscious mind. The anti-hero harms both himself and the society, and this is caused by the darkness of this negative archetype in the poem.

1. Introduction: Literature as a powerful communication medium is able to affect the audience from different angles. By studying the views of theorists, it can be found out that in different periods of the history of literature, “ the Author” has used the influencing techniques to achieve goals such as persuasion, teaching, getting active, and making literary pleasure. The instrumental use of the “ influence” has faded in the Postmodern era, and then the influence itself, has become a priority in the process of literary creation. Iranian Postmodern poets believe that the techniques of influencing the audience in traditional rhetoric are repetitive and accordingly ineffective now. They declare that today's poets must encounter the audience from new and various angles, especially those derived from today's life. . . .

The recitation of ancient poems in contemporary Persian novels has a different function according to the style of the story and the school of the author,As in Postmodern Persian novels, ancient Persian poems have been used to create incoherence, timeliness and change in historical characters. According to this point, the purpose of the present study is to investigate the function and role of the reflection of ancient poems in the novel "The Man of Always Anxiety" by Mohammad Ayoubi by documentary method. The results of the research show that Ayoubi, using this technique in the novel, has created polyphony and by using certain poems from Shahnameh, he has portrayed a helpless and hopeless character of Ferdowsi. Also, the martyrdom of characters such as Bijan to the poetry of Manouchehri and Ferdowsi to the poetry of Hafez and Saadi, has led to a kind of aphorism in the story and the narrative aspect of the novel has been highlighted. Ayoubi has also highlighted issues less important than her life in literary history by selecting marginal poems about Ferdowsi's life.

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.

Purpose: The present research aimed at finding an answer to the question of the process of influence of cyberspace on Iranian poetry in the future, and the influence of cyberspace on various aspects of poetry such as content, its audience, the poet, the media that published the poem, the process of composing the poem, the rights of the author, and Globalization of the Iranian poetry. Method: The Delphi technique was used to carry out this research. A group of experts comprising professors in the fields of Communication and Literature was selected. The expert’s opinions were collected and analyzed through an in-depth interview, a questionnaire based on the Likert scale, and by the execution of three stages of Delphi rounds. Findings: Accordingly, considering the content, the experts predicted that due to the impact of cyberspace, the quality of the poetry will be reduced and consequently, the language of poetry will become simpler and close to prose and it will only reflect the daily events of life. Regarding the audience, they concluded that the audience’s selection power will be increased, however, we can differentiate between the public and professional audience. With respect to the sender, there will be no phenomenon of multi authors, and regarding the channel, the experts agreed upon Media Convergence besides, the poets’ agency in publishing their own poems will be increased. Conclusion: Experts believe that the spread of communication technologies will make censorship ineffective. This is the only case in which the group believes in the impact of technology on the future of poetry. The group of experts did not reach a consensus regarding the impact of technology on the phenomena such as publication of author’s poems as one’s original work and the Globalization of Iranian poetry, thus, analyzed these items in the framework of the human agency.