Classification of literary works into the types such as epic or tragedy, is called a typological approach to literature since the time of Aristotle, the typological approach has been among the major concepts of the literary theory. A great part of the world literature and its criticism has been founded on typological classification of each literary work and determination of its compatibility with the typological characteristics. Over the recent decades, however, the typological classification has cast doubt over the traditional classification with its Aristotelian origin, in view of the modern means of expression and emergence of mass media such as television and movie and so on which in addition to employing the traditional types of literature, have innovated other means of expression. This has resulted in the appearance of new interpretations and understandings of each type of literature, and created a new Classification. The development has not only challenged the traditional outlook, but also intrigued hot debates on the key concepts of this method, particularly, the phenomenon of interference and composition of different types in a single work. Today, the literary types are no longer considered as absolute and fixed, but they are discussed under the influence of historical development and evolution of typological systems in literature, sociology of types and the relationship between literary types and gender. Consequently, at the present age, the typological characteristics of literary works are considered as historical and relative phenomena.

It is obvious that the language and, principally, the literature of each country can bring about the improvement of that language especially from an aesthetic point of view. By the word improvement, we do mean that Persian language has reached a dead-end or it is afflicted, but we intend to say that the literature of each country draws on the improvement, beautification and richness of the language. Here is the reason why we intend to consider this matter: Knowing that the efficiency of the words and also their semantic scope are limited, the speaker cannot often find the best words to express his thoughts or even his experiences, therefore we have come up with the idea of finding a solution for this problem. By dividing, the language into two parts of Colloquial language (Self-acting language) and literary language (Method-escaping language), we are trying to concentrate on the second part of this division to represent their own techniques for the amelioration of colloquial language.

Most of the researches being done in the field of stylistics concern reinvestigating literary styles and the creative idiosyncrasy of the author. For this reason the application of language in literature has been taken into further account within the field of stylistics. The present study tries to criticize the formalistic distinction made between language and literature and to challenge the idea of “literary language” as an independent phenomenon. It also illustrates the point that the distinction made between the application of language in literary words and non-literary ones is due to different functions of language. It is the functions of literary language which leads to the prominence of language as well as forming an idiosyncrasy.

The polite listener In England stares at the speaker attentively and blinks his eyes occasionally as a sign of interest. That eye-blink says nothing to Americans, who expect the listener to nod or to murmur something such as "mm - hmm”. And in some parts of  Far East, it is impolite to look at the other person at all during conversation.It is often argued that, in teaching foreign languages, culture and language are interwoven in a way that it is not possible to present language without its culture. However, until a new method of teaching language, called communicative approach, which is sociolinguistically oriented, had not come into existence, this belief was not used to be observed in textbooks and language classes. This method intends to create situations in the classroom in which foreign language can be used as naturally and authentically as the native speakers of target language use it for communicative purposes.The problem of teaching culture, nevertheless, does not end here. Nowadays, foreign languages are taught with different and varied objectives. Is it necessary for all foreign language learners to get familiar with the culture of foreign language they are supposed to learn? As Schumann (1984) claims, is it true that second language learning is impossible, unless one gives up his/her own native culture and adopts the culture of foreign language community? What are some relevant issues regarding teaching English in Iran? These are actually some basic questions raised in this article. Whereas definite answers are not necessarily provided in this paper, some areas of research related to culture, and teaching foreign language are put forward.

This article, at first, discuses the fact that language is the most important means of human being to reach the fact and beauty. language is a means of logical thinking rather than a way of communication. However, literary language in Rudaki's poetry has the best capacity to identify and reveal mental concepts through using aesthetics. The main question of this article is how Rudaki connected language to thought and what is his artistic creation? For this reason the researcher, after presenting and considering evidences, proves that Rudaki has used all characteristics of language and principals of creative language to connect literary language and thought together. The most prominent elements of Rudaki's thought and literary language are: using the most proper words in collocation, distinguishing the relationship of cause and effect and existence through literary language, asserting artistic fact, using imagination and principles of association of meanings, and entering poetical experience in language dominion (domain).

Based on how formal a conversation is, how much familiar the speaker and the listeners are with each other and how distant is the speaker's social status from the listener's one, the speaker uses certain forms of language known as styles of language. Linguistic styles are different from language varieties. Selection of the styles depends on definite social situations and the kind of relationship between the speaker and the listener. This article aims to represent a clear picture of different Persian linguistic styles and this can be useful in collecting and describing linguistic data for different researches. In addition, a framework is created for editing different texts regarding linguistic styles and also for literary criticism in the fields related to linguistic styles. This article studies the linguistic styles in Persian and introduces a style spectrum consisting of deferential, formal, semi-formal, colloquial and slang styles in Persian.

literary genres have always been one of the most important topics for researchers in the field of literary theories. Since the advent of literary genres in Aristotle era, there has been a serious and wide-ranging debate on this issue. One of the most important questions is how and why new literary genres emerged. Questions like these indicate that literary genres have changed and expanded over time. On this basis, the issue of methods and motives for the evolution of literary genres has been formed. This article, which proceeds with a descriptive-analytical method, seeks to answer the question of how and why literary types evolve while defining literary types. The result shows that new literary types have generally emerged through the change or revival of old literary types as well as through the change of the subject, size or nature, combination of two or more literary types, or change of the focus. Also, the motives of these changes are the order or need of the society, the way the work interacts with reality, the necessities arising from the way of expression, the special situation of the audience, the more efficiency of the outdated literary types, or adaptation to a subculture.

BACKGROUND AND OBJECTIVES: The main topic of literary types in the new way is the classification of literary works in terms of content and meaning. However, in the new way of classifying literary texts, literary works are placed in four categories of lyrical, educational, epic, dramatic literature, but any type Literature can have other types within itself, and this is also true for the works of Khajawi Kermani. Although Khajawi Kermani is a poet, love stories can be seen in his works, such as Homay Vahmayoun, Gol and Norooz, but in each From his love poems, various manifestations of didactic, epic literature, etc. can also be seen. The present research examines the literary types and themes and content of Khajovi Kermani"s works. METHODOLOGY: The present research is a theoretical study that was carried out using the library method and the descriptive-analytical method. FINDINGS: literary types in Khajovi Kermani"s works do not have the same frequency, and the poet was influenced by the atmosphere governing his poems, common traditions or influenced by the political, social and cultural conditions of his time. Quantitatively, the frequency of each literary type in Khajovi Kermani"s works is related to the subject of each work. The main theme in Khajavi Kermani"s works is praise. CONCLUSION: The most important themes and contents of Khajawi Kermani"s works are complaints, praises, laments, congratulations, satire, boasting, requests, prayers, descriptions, which use special linguistic techniques and functions according to each of these topics. In the works of Khajovi Kermani, there are didactic, epic, and lyrical literary types with their related branches and branches. Khajo draws his thoughts and emotions in beautiful pictures and excellent paintings and conveys the meanings and words to the reader in a concise manner and with a catchy song.

BACKGROUND AND OBJECTIVES: literary types are one of the theories of literary sciences and include topics that are presented in the form of prose and prose with special technical characteristics. The main subject of literary types in a new way is the classification of literary works in terms of material and form. Accordingly, literary texts are placed in four categories of epic, dramatic, lyrical and educational literature. The classification of literary texts in this way, following the theory of Darwinism, first originated in Greek thought and was proposed by the likes of Plato and Aristotle. The division of literary works in classical Iranian literature has not been unprecedented,But what was considered in the past was the classification of literary texts based on appearance. The purpose of this article is to "study and analyze literary genres in Nezami works" by classifying the literary genres that are scattered in the works of poets. The main purpose of the present study is to determine the literary genres and sub-categories of each, as well as the influence of political, social and cultural situations on their application. METHODOLOGY: Library resources were used to get acquainted with the basics of literary types as well as descriptions of Nezami status and works. Then, by studying the works of the poet, the evidences of literary genres were extracted and after introducing each of the genres, they were examined and analyzed using the text analysis method. FINDINGS: In addition to the main literary genres, its sub-categories have been used in the works of this poet with great breadth and variety, which are: apologies, demand and request, Saqinameh, complaints, city of chaos, rejections, praise, elegy, Me’, rajname, Mofakhere. CONCLUSION: If we consider the types of lyrical-educational literature, epic-educational-, and educational-educational literature as subsets of educational literature, five Nezami treasures can be considered as successful examples of educational-lyrical, and educational-epic literary types. The existence of numerous subsets of literary genres in Nezami works is a sign of his breadth of vision and thought, as well as his poetic power.