Almost all critical studies concerning Lautreamont allude to a strong presence of parody in his works, but no methodological study is to be found, exclusively dedicated to this matter. This is because, parody has been, for very long, marginalized by literary critics, and that it was not valued and rehabilitated by literature, literary critic and poetic, before the 20th century. This article, belonging to the intertextuality line, seeks to study the modality of the presence of this technique or, according to some literary theorists, this literary genre, and its’ functions in Les Chants de Maldoror. What appears here, is not solely the abundant presence of different themes and sclerosesliterary disparate originated discourses, but also the involvement of literary notions such as, genre, writing and reading.   French: Lautreamont et la parodie Presque toutes les etudes critiques concernant Lautreamont font allusion a la forte presence de la parodie dans ses oeuvres, mais on ne trouve aucune etude methologique, exclusivement consacree a cette question. Cela parce que la parodie a ete depuis longtemps marginalisee par la critique litteraire et qu’il fallait attendre le XXe siecle pour qu’elle se voie valorisee et rehabilitee par la litterature, la critique litteraire et la poetique. Le present article, situe dans la lignee de l’intertextualite, se propose la tache d’etudier la modalite de la presence de cette technique ou, selon certains theoriciens litteraires, de ce genre litteraires ainsi que ses fonctions dansLes Chants de Maldoror. Ce qui y revele, non seulement, la presence abondante de differents themes et discours scleroses litteraires d’origines disparates, mais aussi, met en question les notions litteraires comme le genre, l’ecriture et la lecture.Keyword: Lautreamont, Parodie, Intertextualite, Effet d’Heteroclite, ecriture Carnavalesque et Lecture Dialectique

The vast diversity of the proposed definitions of parody, both before and after the twentieth century, can be an emblem of the lack of a thorough agreement amongst the literary critics about the definition of this literary technique (genre?!). While there is not a comprehensive all-accepted definition of parody, modern and postmodern literatures both exhibit a wide application of it. After looking at the definition of parody under Bakhtin's dialogic concepts, Genette's structuralist viewpoints, and Barthes's poststructuralist notions this study endeavours to put forward a more comprehensive and more applicable definition of parody mainly based on Bakhtin's dialogic criticism. parody then can be defined as a deliberate imitation or transformation of a socio-cultural product (including literary and non- literary texts, and utterance in its very broad Bakhtinian understanding of it) that recreates its original subject having at least a playful stance towards it.

Naqizeh, as one of the basic techniques in satire, is the equivalent of parody in western literature. But they are different in many aspects. In Persian literature all of the terms such as parody, burlesque and travesty fall under the rubric of Naqizeh, and Naqizeh has the overall connotation of these terms. By considering different expressions in the domain of Naqizeh, the present article argues that "burlesque" is a better equivalent of Naqizeh than "parody", although we have used Naqizeh in its ordinary and usual meaning.

Naqizeh' (parody) in Old Persian literature was both in serious and humorous forms, and it was not confined to poetry, but has been used in prose, as well. The closest term in English to 'Naqizeh' is parody.parody has different forms; however, such diversity is not suggestive of lacking a thorough agreement on the genre. Based on Bakhtin's theory of Dialogue, and Genette's and Barthes's views, the present article provides a definition of parody in English literature covering most cases. Accordingly, parody can be defined as a deliberate imitation or transformation of a socio-cultural product (including literary and non-literary texts, and discourse in its Bakhtinian broad sense) so that it will recreate its original subject in a playful, not necessarily ironic way.

We want to tell in brief the importance of parodys quality and quantity. After saying the meaning of parodys word with a brief consideration we describe the importance, diviatian, equipment and factors. Stylistics and parody in poems also is in our consideratian, then we consider one of poem of Iranian best and famous lyricpoet Baba Faghani Shirazi because his ode has been considered.

In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too parody is one of the complex and secondary literary genres that represent intertexuality. The relation between parody and deconstruction is connected to the way they act. parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.

One of the achievements of the Constitutional Revolution at various levels of society and consequently literary texts is to pay attention to women and discuss their issues and problems. for example, we can mention the works of Mohammad Mohammad Ali, in which women have a special position. he can try to show another voice (woman) that has been silenced in front of the dominant power and ideology of patriarchy by using the story of Rostam and Sohrab and recreating this story from Tahmineh's feminine point of view. This article is trying to answer the question that how the intertextual relations of this work with Shahnameh have led to polyphony and women's discourse in Tahmineh's story novel. Therefore, the article has shown the author's linguistic and sociological contradictions from the story of Rostam and Sohrab relying on the logic of Bakhtin's dialogue. the result of the issue has shown that the author in order to centralize the position of women in recreating the story of Shahnameh uses the features of women's discourse such as the color-word, women's perspective, women's words, women's emotions, and feelings, women's syntactic structure in sentences. Also, in the sociological contradiction of the Shahnameh narration, he has dealt with women's intellectual and financial independence, women's identity, struggle against women's being different, and so on.

This article aims at the content and structural analysis of the poetry of Nasser Feyz, a contemporary satirical poet, in his four comic collections (i. e., The Omlete with Handle, Near the Cucumber Stub, Feyzbook and Feyzanlah). The authors first provide a precise definition of parody and then, based on that, analyze the content and structure of Naser Feyz's parodies. In terms of the content, those parodies both make at the readers laugh at satirical elements and raises criticisms of social, economic, moral, cultural and political issues. From the structural point of view, the rules of language, music, semantics and imagery are applied to create graceful inconsistencies that are in line with the paradigmatic structure. For example, the poet has shown his skills in the realm of language through word verbal games, word-formation, double pluralization, and folklore.

The elucidation and ambiguity in art has always been a matter of dispute in a way that, in cases, a work of art could be credited only for being hard to obtain. Nevertheless, the honesty and sincerity of the artist has always been important, and due to this, many writers or poets have taken the risk of being very ambiguous. It must be said that interests for deviating the meaning goes beyond the works of Dadaists and Surrealists, and Persian classical writers particularly the mystics, were so much concerned with this device, that some critics in criticizing these futile efforts, invented a parody named Tazrigh.The present article, through a historical analysis, tries to prove that this device is too embracing to be called a fancy in the field of literature.

The vast diversity of the proposed definitions of parody, both before and after the twentieth century, can be an emblem of the lack of a thorough agreement amongst the literary critics about the definition of this literary technique (genre?!). While there is not a comprehensive all-accepted definition of parody, modern and postmodern literatures both exhibit a wide application of it. After a historical survey of the definitions of parody from its first appearance (in European literature especially English literature), this study endeavours to put forward a more comprehensive and more applicable definition of parody mainly based on Bakhtin’s dialogic criticism, Genette’s structural viewpoints, and Barthes’s post structural theories. parody then can be defined as a deliberate imitation or transformation of a socio-cultural product (including literary and non-literary texts, and utterance in its very broad Bakhtinian understanding of it) that recreates its original subject with at least a playful stance.