The basis of CRITICISM in the arts with any reading is attributed to the from of the artwork. Form is the principal and basis which gives birth to an artwork and reveals it.It is on basis of shape, form and structure of any artwork that an artist his/her talent and creative devices and by inventional imagination creates it. Art creation happens to come out in the form shape and beauty is the uncovered and undamental figure which appears in artwork.It is possible to have any critics and interpretations of an artwork through the objects composition and form which is called artwork meaning or concept of artwork, understanding and decoding the core idea of the author, the text antecedent (words chain, shape and color, motion land sounds) to psychological and sociological, historical and mythical fields through the artwork form (shape) and its formality. form is the contact point of an artist and interlocutors and vice versa.If an artwork is taken as an independent object on an artist and interpreted in the historical horizons frequently then what makes any interpretation possible finally is the art form; the­ essence of which is the beauty of expression. Questioning an artwork may /be done in different aspect such as what does it mean? What has been the intention of its creator? What does the work mean in the present time? How an artwork can convey past historic horizons to the modern era?Any answer to such questions depends on precise and original information of the artwork form and composition critics analysis.

The present article intends to study the theoretical and methodological principles of the FORMALISTIC CRITICISM of poetry on the basis of the Russian formalists and American formalists or "new critics" views. For this aim, our approach has been the analytical-critical approach. Finally, this article organizes the method of "gravitational CRITICISM of poetry" by the creation of profitable contact between theoretical and practical achievements of the two branches of formalism. This method analyses all of the form elements of poetry, not as "connective CRITICISM of poetry" by way of the horizontal-vertical, but according to the systematic and structured nature of this literary genre by way of the polyhedral-hierarchical mathod in relation to its "fundamental technique".

FORMALISTIC CRITICISM was the most important approach at the turn of 20th century that was originated from the modernism. The last decades of nineteenth and the early twentieth centuries, were the periods of denial and rejection as well as break-away from the past literary and artistic traditions. Modernism tried to break the ideology of ancient art and created "new" and "modern literature". For that reason, in the early twentieth century, thinkers made anti-cinema, anti-theater and anti-novel efforts to create a kind of anti-artistic views. The formalism in this tumultuous scenario raised the flag to combat traditional thoughts in literary and artistic domain. Is today, in the existing circumstances, formalism can be used for literary CRITICISM?In this paper, the manner of emergence of formalism in the early twentieth century literature is studied and techniques and theories are compared with the Persian rhetoric. Undoubtedly, today, after the passing of nearly one century of the emergence of formalism, it should be noted that although formalists created new theories, almost all stages of their works are clouded with dogmatic fundamentalism. Today, in order to pay tribute to their efforts, FORMALISTIC critical school, with an absolute perspective, must virtually be placed in museum of artistic and literary CRITICISM and cannot be used as an ultimate and final method in CRITICISM.

ABSTRACT The attention of contemporary planners to environmental factors and increasing awareness and communication of man with his surrounding environment has increased the layers and defining factors of design and planning concepts. In such a way, a common problem with the issue of environmental capabilities to respond was put in front of the planners. The collection of ideas presented in this era was in the form of responsive planning, focusing on the maximum use of environmental capabilities. The necessity of the emergence of a comprehensive discourse to overcome the plurality of factors, definitions and design methods in the environmental fields has been given less attention. Based on this, the current research aims to organize the leading theories in this field in a targeted manner and seeks to improve them based on their synergy. The structural question of this research is the meanings, examples and meaningful contexts of flexibility in various aspects and scales of urban planning. The research method used is qualitative thematic analysis with the help of artificial intelligence in MAXQDA software in a 6-step processing process. The important application of this research is to structure the minds of the planners of this field to reduce the scattered and interdisciplinary problems of the resources. The results of this research revealed dimensions such as identification and recognizability, diversity and changeability, adaptability and expandability, distribution, separation and continuity, organization and compatibility in the field of flexibility and related to the corresponding parts in urban planning   Extended Abstract Introduction Responsiveness-based design and planning emphasizing the maximum use of environmental capacities to meet users' needs implicitly cause a targeted improvement of environmental quality. As the environmental awareness of contemporary man has expanded and the platforms have become more diverse, many challenges are raised in the field of environment-oriented in the field of infrastructure quality and service provision. Urban developments and new developments in cities should be interpreted with integrated conceptualization. The conceptualization of interpretive flexibility in the planning and designing of public spaces in the city is used as an interdisciplinary perspective in urban space design to open and discuss its connection and potential as an approach to strengthening social cohesion and inclusion. The general definition of flexibility is that it can create places with new forms of meaning and be used for different groups to strengthen its coherence and multidisciplinary inclusion in terms of design and planning of space and body. On this basis, the concept of flexibility is proposed as a principle in the context of design and planning due to its wide range of effects on background phenomena. The history of such a role can be seen in the diversity of users' needs. In such a way, it is impossible to express the specific time and area of the need to pay attention to this concept. This is in line with Oldenburg's theory of "social public spaces," in which being in public space, communicating with people and the environment through observing the streets, sidewalks, squares, and parks of the city is a necessary step for people as a part of their social life. The meaningfulness of the design of the artificial environment was considered. In any case, in the contemporary era, on the one hand, at the same time as the quantitative and qualitative increase of human environmental awareness, there is no longer any phenomenon in the eyes of contemporary man arising from a unique aspect and range of factors. On the other hand, his life needs in the individual and collective dimensions have seen a high diversity, which has led to the formation of multiple semantic domains of past flexibility. The meaning of flexibility in such an interdisciplinary platform and basic design refers to the concept of understanding and responding quickly and efficiently to environmental changes. Such a holistic definition for this broad field of environmental design means the implicit acceptance of the role of scale in the meaningful domain of these concepts. On a macro scale, it means making design options to increase the presence, participation, and power of choices of users of the environment in participatory urban planning and design methods, and on a small scale, it means making design options to increase spatial quality and, as a result, the quality of activities. The daily activities of environmental users are through selection against the "dominant space." Flexibility at different scales is crucial for dimensional optimization, shaping, and structuring spatial features, leading to improved performance of space components and spaces. The development of the concept of "flexibility" from various studies in metropolitan to micro scales, such as interior architecture, allows it to pass the discourse of responsiveness to provide a broad approach to environmental design in which different values, interests, and priorities are prioritized. As a result, the issue of flexibility in environmental design has been raised as a multi-dimensional field in the design and planning of the basic environment. The breadth and complexity of this concept have made the researchers of this field deal with it in one or more ways, and it has been avoided to provide a comprehensive framework about the nature and structuring processes. The current research presents a structured view of flexibility in architecture and urban planning with an environmental approach.   Methodology The methodology to achieve this goal is to use the macro research method and achieve a comprehensive framework by combining categorized interpretations. In such a way that by sorting and categorizing these concepts and bases in a new way, he has found a new level of theoretical findings, which will be a suitable answer for the gaps in scientific knowledge and scientific methods created in this field. In this context, the research method "thematic analysis" has been used with a qualitative approach and the use of library resources. Also, to overcome the breadth and complexity of these concepts and the multi-layer networking of concepts in this research method, artificial intelligence has been used in MAXQDA research assistance software.   Results and discussion In the meantime, attention should also be paid to the fields of influence and application of the results of this research because designers refer to flexibility as the creator of environmental qualities, including dynamism. Also, since flexibility, along with the principles of readability and adaptability, affect the lifestyle and behavioral patterns of the audience of environmental design in architecture and urban planning, it will also be effective in dealing with the challenge of complexity in environmental design factors. One of the key questions for achieving research goals on this issue is how flexibility in environmental design impacts the relationship between flexibility and scale.   Conclusion The most important finding of this research suggests that first, it requires a focus on the conditions under which the processes of perceiving human abilities and discovering the needs of the human audience can manifest. The theoretical framework arises from a comparative approach between design disciplines. These conditions are independent of the final state of the design product, and strengthening the environmental capacities will lead to a direction and an area that includes environmental flexibility. By responding to new situations, the construction of the space and the body within a space building can be adapted to various configurations. Even though the environment may remain constant, the designed place will continue functioning as a strong living system over time.  It also seems that the nature of issues related to flexibility has complexity. Considering that the quality of flexibility in urban planning and architecture is significant in multilevel and multifaceted scales from micro to macro, it is important to pay attention to the scale of different variables. In order to reduce this problem, the consistency and adjustment of the scale of the variables measured in a specific analysis should be considered in the first step.   Funding There is no funding support.   Authors’ Contribution All of the authors approved the content of the manuscript and agreed on all aspects of the work.   Conflict of Interest Authors declared no conflict of interest.   Acknowledgments We are grateful to all the scientific.

The present study is an attempt to investigate the first sermon of NahjulBalagheh in the light of the FORMALISTIC CRITICISM. It deals with the issue that the religious meaning and content of the creation sermon should be considered as a foundation, and how much the form and integration have been regarded, and to what amount the literary text has been observed by the author. Ignoring the non-textual questions like the personality and position of the author, social, historical and psychological issues that have no place in FORMALISTIC CRITICISM, the writers concentrate only on the text and try to discover the beauties of the mentioned sermon according to the principles of this CRITICISM. Regardless of its content and meaning, the text is entirely integrated and the words, terms, phrases and sentences are in a great harmony, making a wonderful arrangement. Using metaphors and figurative language, concentrating on inspiring sounds, observing the phonetic, syntactic and morphological balance, applying different kinds of literary defamiliarisation, making relation with other texts, all causes the text to own a magnificent superstructure and infrastructure. This leads to the conclusion that the beauty and poetry of the text are not sacrificed for the content and the meaning; rather, they help one another and the language is as important as the content.

FORMALISTIC CRITICISM is an approach which was in progress in Russia in 1915 - 1930. This field of literary CRITICISM study literature from the point of view of linguistics. In this approach, a literary work is considered to be a linguistical subject. The from and shape of literary work is the base for aesthetic analysis and the only way for reaching to the hidden meanings. Some theorists of this approach are Roman Jakobson Boris Aknolem and Victor skolofsky. They were association members of linguistics at that time. The purpose of this research is to study three lyrics of Sanaee based on this approach with emphasis on Grammont and Jakobson opinions. The results show that by using a forma listic approach the hidden meanings of a literary work is accessible without knowing the structure of the society, historical issues or even the psycholigical charater of the writer.

How to profoundly change the beliefs of the polytheists during the age of revelation from the denial of the Prophet (pbuh) to the certainty of his Message and the acceptance of his full guardianship is a question worthy of attention. The order of verses about prophecy based on the order of revelation is the reason to lead a transformative process and a special Quranic method in institutionalizing the belief of prophecy in the lives of Arabs. In the first stage, the Holy Quran in the first Makkī (Arabic: المکّیّ, suras revealed in Mecca) chapters has prepared the community from the motivational side to accept the truth of the Prophet’s (pbuh) prophecy and briefly stating the key issues surrounding it. The Holy Book of Quran at the time of the emergence of oppositions and doubts (the second stage) destroyed the arguments of the polytheists and explained the prophecy and proved its authenticity from a cognitive perspective in the second stage by presenting clear arguments. and the Holy Book of Quran in the third stage after Madanī (Arabic: المدنیّ, suras revealed in Medina) period has undertaken measures in order to fulfill the goals of the Massage by explaining the true position of the Prophet (pbuh) to deepen and operationalize the Prophetic belief through explaining practical duties for the Prophet (pbuh) and behavior based on the acceptance of Walaya (Arabic: ولایة, meaning “guardianship” or “governance”).

In the poetics of formalism, the two issues of "story" and "plot" have been redefined depending on the ultimate goal of this theory that is defamiliarization .Based on the new definitions, "story" that was believed to be the temporal chain of events, is presently known as the raw material of the narrative called fibula. Similarly, "plot", in opposition to what preformalist critics believed to be the logical and causal narrative structure, currently refers to all the aesthetic devices used to give that raw material an artistic structure and is called subject. These devices appear in the three levels of language; themes, narrative techniques and the aesthetic structure of narrative. Persian contemporary short story writers have created an innovative form of deconstruction in the narration of their stories by considering FORMALISTIC theories and a skillful utilization of linguistic, thematic and Technical features. Therefore, in the process of writing stories, they disregard plot in the form of its event-driven classic definition rather try to highlight the form of a fictional narrative through the application of new narrative techniques. As a consequence, they achieve "Defamiliarization" and "subject" intended by formalism. Given that the defamiliarization often appears in the level of narrative figures more broadly and diversely, in this article, we are going to analyze and categorize diverse methods of creating defamiliarization which are the main reasons for the strangeness and intricacy of the contemporary formalist short stories.

The Russian formalism is an approach was introduced at the beginning of 20th century and those who offered such a theory wanted to find a scientific method in literary CRITICISM. They believed that the literary work itself should be criticized instead of its author and the literary nature of the work should be considered as the main subject. Adopting such a method, they propelled the study of literary works to the issues of Form and Technique. Besides FORMALISTIC reading of Mahmood Dowlatabadi’s “Journey”, in present paper, we are going to make Formalism and its related special concepts clear and to show how critics use these FORMALISTIC concepts to analyze this story.

Fabula (story), according to Formalists, is the chronologic sequence of events and actions which is in fact the "whatness" of the narrative content, its material, and potential aspect, while syuzhet (plot), is no longer the cause-effect relation between the events, but the actual aspect of narrative that comprises all the aesthetic and defamiliarising devices that are used to represent the story as something artistic. Formalists, as to their interpretation of the concept of plot, were more concerned with the defamiliarising sides of narration and thus studied it in the categories of language, theme and devices.This article, through reviewing the distinction between fabula and syuzhet according to Formalists, shows their various aspects in some FORMALISTIC Persian short stories.