Drama literature has been the full sign of all available mental currents in many cases as the reason for its vast correlation with the community through implementation on the scene. we can especially see this property in intellectual writers works with a political point of view. One of these points of view is a postcolonial theory, that examines the low east mental fundamentals contrast with high west and tries to show the output discourse of this contrast between colonization and colony. However, the battle with colonization and its politics every time has been a basic worry of Iranian intellectual fighters in the present era, but sometimes, their artistic works, such as film drama, , poem, and so on, have been written according to these thoughts. There fore one of the people who has a place in Iran drama and story literature and the people who had a trend in fighting with Pahlavi era dictatorial and colonial politics is Mr. Gholamhosain Saedi. In this research, this writer, Mahasal drama characteristics has been analyzed according to postcolonial theories and the work result, shows the correct and intellectual characteristics and their potential and power in presenting the writer central idea, that means, the colonization politics. How ever Mr. Saedi has been considered more than in postcolonial, he also, has paid attention to more careful and finer details in colonizer and colony discourse, that comes to the bigger domain of political and social and anthropology sciences.

Bozorg Alavi and Gholamhossein Saedi are prominent Iranian writers who have written novels that have met with public approval. In this research, the stories of "Suitcase" and "The patriarchy" by Bozorgmehr Alavi, "Bill's mourners" and "Glorious soiree" by Saedi have been examined in terms of female characters, their roles, and the possibility of their presence in the society. Considering the progress of Iranian society and the strong presence of women in today's society, writers should align themselves with this new wave and also express the shortcomings and problems of women in their works. It is also necessary to examine the traces and background of this deconstruction (the presence of women in society and their self-employment) in the works of past authors and to estimate its effect. This research, which was conducted with a library study and a descriptive-analytical approach, showed that the role and presence of women in social, political, and cultural fields are more in Alavi's works than in Saedi's works. In Saedi's works, women play a very minor and secondary role and seem to be superstitious and helpless. Maybe only in the book "Glorious soiree" (the funny story of asylum), a powerful woman can be seen but she doesn't play much of a role in the development of the story.

The present article is an attempt to show that modern story writing in Iran has been influenced by the world dramatic literature. Studying the contemporary stories shows that Iranians have been influenced by worldmethods and literary schools. For certain political and ideological reasons these influences have mostly been from the works of Russian literature. The article explores the works of Fyodor Dostoyevsky and Gholam Hussein Saedi as the representative story writers of two different cultures and from different times to conclude how the Russian writer has influenced the iranain one.

The phenomenon of alienation according to the contrast between tradition and modernity, especially in Pahlavi era should have a meaningful relationship with the quasi-modernity flow and other intellectual and political flows. As the coup occurred in 28 Mordad 1332 was the most important and effective political flow that caused despair and failure and alienation in the middle and intellectual strata of society. So, it seems necessary to address the works of Gholam Hossein Saedi as an intellectual who represents the levels and aspects of this phenomenon. Because his literature is the product of a space that belongs to the field of quasi-modernity in Iran. This article tries to analyze and explain the story of "Cow" by Saedi (Bill Mourners Collection) which is in the form of a metaphorical and symbolic story, on the basis of alienation concept, and show the adventure of being alienation of Iranian human while facing reality, and also the role of inverted ideology in creation of this phenomenon. The research in question, after explaining the phenomenon of alienation based on genealogy of this concept shows its historical evolution in the views of Hegel and Feuerbach and Marx and Forum, examines the story of "Cow" according to metaphors such as "power and ideology", "identity", "another one". During the analysis of the story, we came to the conclusion that there is a hidden philosophical-psychologicalsociological theory in the construction of the work that is visible in the structure, space and character of the story. Creating problematic characters like Mashdi Hassan, represents the author search to show a symbolic world tied to theory.

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "postcolonial" discourse that flourished after World War II, this broad class at one point turned to the leftism,And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions-which are considered works in praise of the mass uprising-. This resistance is manifested in different levels of works,Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “, Chub be Dast-hayeVarsail”,will be analyzed. In order to analyze the various aspects of the "body" in this play, firstof all "gender,Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the uniqueaspectof ‘, body’, , which has shown itself in the "Metamorphosis of the body”, . Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienatesome characters. This process is possible by usage of the body's capabilities, for example by transforming shapeof the body towards the animal figure.

Carnival is one of the prominent theories of Mikhail Bakhtin, the great critic of the twentieth century in literature. Features that make a literary work can be called carnival are the language of the street and market, humor, laughter, imcompetence, grotesque, etc that can be mentioned in describing a carnival work. Carnivals are public and folk festivals in which different classes of society are worded and the wise, fools, clowns and kings are ridiculed. One of the works that can be read by carnival” Azadaran-e Bayal” is the work of Gholam Hossein Saedi. This article is based on descriptive-analytical method and library method. The research finding indicate that the author disrupts the dominant and one-sided discourse in this work and provides space by creating multiple and reciprocal characters and situations to creat discourse and reflect different voices to express social and cultural truths. In this novel, The explanation of the multilateral and functional contradiction between characters and cultural and religious situations in society, combining contrasting things by creating situations and artistic spaces, as well as, reflecting the effects of death and love at the end of stories, creating distorted and crazy characters who breaks balance of logic and formality, the use of slang in different situations, the existence of fear and panic in the atmosphere of the stories, the creation of humorous and funny situation with special and self-attributed methodes, etc expresses the signs and components of carnavalism in this work.

The collection of graves and cradles is a collection of short stories by Gholam Hossein Saedi, which was published in 1345 and has been written in three short pieces, which are: Bee House, Shadow to Shadow and Garbage. In the stories of this collection, the most hidden behaviors and the most unspeakable human behavior and material are expressed with a very dignified pen and prose. The characters in these stories are captives of poverty, corruption, misery, and limited sexual pleasure. Saedi, who belongs to the lower classes and strata of society and witnessed the migration of peasants and unemployed villagers to the city and living in Halabiabad, in this series intends to represent the dangers lurking in the way of these unbridled migrations, can Create an obstacle and at least give a warning (Mehdipour Omrani, 132-3: 1382). In the following, the structure or morphology of the stories in this collection is examined based on the narratological theory of Tzutan Todorov.Research Method: This research has been done by descriptive-analytical method and based on library data retrieval.Findings: The research findings show that in the study of structural analysis of Gholam Hossein Saedi's stories, usually the atmosphere of the story of fear and panic, people trapped in poverty and misery, which eventually reach a balance.

The study of the contemporary Arabic and Persian novels from the view point of the modern critic theories has special importance and strengthening such critical-cultural researches can be the miraculous key to solve political misconceptions between Iranian-Arabic focal points. Furthermore, many Arab regions have been as Iran under colonial domination. The present study shows technical methods of the two Algerian and Iranian writers in regard to the two French and Russian colonial powers. By giving a clear picture of protagonist and antagonist elements, the result of this research is that in Saedi's 'tup' protagonist as the foreground character plays antagonist role and is not the instigator of the story, even though not regarded as its prominent character. On the other hand, Saedi in developing the plot tries to make ethical charastristics of the characters salient. The common characteristics of the writers includes the consequences of colonialism picture in the rural life, and constituents such as: class conflicts caused by colonial oppression followed by combats and resistance to colonialists.

A moral critical approach to reading a literary text can be achieved by recognizing the moral concepts and themes in the text, or by grasping the relationship between the moral discourse of the text and its aesthetic structure. New approaches in criticism emphasize that the artistic text is based on connotations, and the meaning of the text is hidden. For this, the method of expression in literary text is of more interest than the subject. This research seeks the answer to the question that how the writer of a literary story deepens his/her own and his/her audience's moral understanding through narrative methods. The subject of the study is GholamHossein Saedi's works. By analyzing and reviewing the researches about this writer, several conclusions can be drawn: 1. the main semantic domains to which Saedi paid attention are political, social, and psychological. In these semantic domains, the basic theme of his works is the connection of social issues with damages to individuals as well as the immorality caused by society showing traces of Marxist morality; 2. In integrating new story writing methods with political and social ideals, Saedi formed his moral discourse by aesthetic expression and narrative devices; 3. Realism is the feature of Saedi's stories' surface structure, and integrating this feature with symbolism in the inner structure of narrative enriches the moral or immoral aspects of events; 4. In most stories, character dominates the plot, and the effect of a sick society on the immorality of a person can be depicted by tracing the characters' actions and reactions, and visualizing their complicated minds and souls; 5. Dramatic visualization dominates rhetorical and verbal ploys, and the negative influences of an immoral action are suggested by creating an atmosphere. At the end of this article, examples of Saedi' s moral discourse and his method of expression have been presented.