Love has always shone as one of the major themes in literature. A great number of writers and poets have enriched their works with it and created memorable stories. However, not many have delved into the very nature of love itself to see what it really is and where it comes from. Hence, the present essay aims to stay away from the typical analysis of love and will instead focus solely on the nature of this immeasurable force through a comparative view on Emerson and Attar’s thoughts on the concept. To gain an understanding of their spiritual thoughts, the research focuses on comparing and contrasting Emerson’s essays with Attar’s The Conference of the Birds. The study is descriptive-analytical in nature and follows the American school of comparative literature. Through the analysis it is revealed that the two literary figures share many similar thoughts. To both of them beauty and love are considered the source of the universe. Furthermore, in their views true love leads to self-knowledge. The difference between the two is shown to be that Emerson has a more humanistic approach towards love, whereas Attar has a more mystically divine one. In the end, Attar’s influence on Emerson is identified as well.

Jacques Derrida revolutionized the Western Philosophy by reconsidering the previous ideas in a new perspective. In his view, human subjectivity is explained within the system of language and the meaning is conveyed through the concept of differánce. As such, he imparts the notion that nothing ever exists outside the text, yet the text is filled with innumerable meanings not a specific one. The net of his deconstructive thinking cast vast enough to devote close critical attention to any previously regarded metaphysical idea like love. Transcendental or metaphysical love is shorn of meaning in Derridean notion of deconstruction. For Derrida, love as a communicable sign is confined to the rules of iterability which proves the free flow of signifiers. In this regard, Fitzgerald's The Great Gatsby as one of the most critically studied work in America is recruited to examine the Derridean deconstructive notion of love. Gatsby is exclusively focused on seeking Daisy's transcendental love even at the expense of repeating the past. Nonetheless, the evanescent fluidity of the notion of love totally ruins Gatsby's chance of ever achieving Daisy's love. Accordingly, Gatsby's ultimate failure is expected for the reason that an "absolute moment" is never devoid of any trace of past or future time. Thus, The Great Gatsby attends to why the notion of love defies any metaphysical or transcendental status and instead it has differential and deferral meaning.

The beginning of twentieth century experienced significant changes affecting different parts of society. Such considerable changes not only influenced the appearance of the society but also dramatically changed the social bonds gripping different kinds of people together. In this regard, Emile Durkheim as the father modern sociology thoroughly reexamined the previously settled notion of sociology and brought about a new perspective studying the social bonds. With regard to his two main principles namely mechanical solidary and organic solidarity, he justifies the relationships among the individual within the traditional and modern society. Nevertheless, he mentioned that out of few rare situations, the individual may commit a type of suicide which is totally the consequent effect of society on individual. Hence, through this study it is tried to reconsider Shirley Jackson's "The Lottery" in the light of Durkheim's theory. In this case, it is revealed that while previously it was believed that the main character of the story is killed mercilessly by his friends and families, she has indeed committed altruistic suicide as the result of being so much integrated within the structure of the society.

The eruption of two world wars marked a period of transition in which the intellectual and artistic environment underwent a drastic change. Such a gloomy era provided the inevitable situation for the fiction-writer to switch to new and bold fictional modes. Under such circumstances, the adoption of fantasy became one of the most interesting, satisfying and effective forms for projecting the modern novelist's vision. Fantasy can work as the most suitable board on which the fictional writer can apply his satirical vision and negate the value of our sense experiences. Indeed, Fantasy seems to be the exact mode through which writers of the genre can proceed effectively along their chosen path. As such, William Golding in his monumental work, Lord of the Flies, has tried to show a fantastic representation of Modern man's nature which leads him inevitably to savagery. Golding has created a dystopia by diminishing the adults to children to show that the modern man who denies the spiritual values is doomed to failure. Hence, in this paper tries to apply the technique of diminution, an oft-repeated technique in satirical writing, to prove that the animal side in man is the sole cause of his degradation and degeneration and if this animal side is not kept under control, the society will face injustice, repression, slavery and hatred.

The first traces of modernism in Iranian society can be found in the second decade of twentieth century which was deeply embedded with religious concepts. With regard to Persian literature, short story was developed as a new genre and a sign of modernism of that period by prominent Iranian writers such as Sadeq Hedayat (1903-1951), Mohammad Ali Jamalzadeh (1892-1997) and Sadegh Chubak (1916-1998). In this way a cultural clash was broken out between the traditional religious concepts and the new modern ideas. Among these writers, Chubak was more influenced by the doctrine of modernism. He expressed his message colloquially through his short stories to instigate the lower part of society. His naturalistic style of writing delved into the most gruesome details of people's life with the aim of shocking his reader in experiencing a new perspective previously ignored. To highlight Chubak's style of writing attempt is made to explore one of the highly praised short stories entitled "An Afternoon in Late Autumn" on the ground of the Bakhtin's theory of grotesque realism cited in Rabelais and His World. Grotesque realism is a site upon which religious and social hierarchies can be subverted and renewed. This study tries to reveal that Chubak followed the Bakhtin's grotesque realism to evoke a new outlook particularly in the lower section of society.

The beginning of twentieth century was accompanied with the prevailing current of technology in different aspects of human life. At first, it incited a positive stimulus which could build a utopian world on the advancement of technology. However, the bloody World Wars averted this view and the technological utopia was replaced by Orwellian dystopia. Orwell's Nineteen Eighty-Four is a satirical work which moves against Wells' utopian toward the reflection of a distorted technological society. Undoubtedly, satire is the best literary mode for dystopic depiction of the world specifically the one portrayed in Nineteen Eighty-Four. Winston Smith, the central character of this novel, is lower from his society in terms of intelligence and power of action. Therefore, he is put under rigid controls and brainwashing. And at last, he awfully rejects his love in favor the principles of the Party. Thus, in this study, we try to investigate Winston's romantic life in a satiric manner with respect to Northrop Frye's theme of romance which includes the three phase of agon, pathos and anagnorisis.

Marriage is undoubtedly the most discussed concept in literary history without which the society is dispensed with its most necessary building block to function properly. Clearly, marriage is a happy union of two individuals who love each other; nonetheless, its joyful aspect was overshadowed from the Victorian period. Even this negative perspective was taken into an extreme extent by authors like George Bernard Shaw (1856-1950). Shaw's views on marriage are based on his positive theory of creative evolution. He is not against the institution of marriage but he is against its present customs and laws which has made the marriage a mere means of unlimited and unrestrained sexual pleasure and away from the betterment of species. For Shaw, true love has faded away and sentimentality created all the unreality and romance of married life. As such, he believes that the best role performed by woman is that of a huntress or a chaser in seek of a husband to supply her financially. Thus, the present paper, briefly address the Shavian Philosophy of marriage in Man and Superman and show a thorough critical evolution of his vision for an amiable society and a peaceful life.

By the 1930s, the Iranian society was driven toward modernization. Consisted with the concept of modernization, feminism ushered a whole new era in Iranian history. Besides, the outbreak of World War II and the consequent abdication of Reza Khan afforded women a golden opportunity to fight for their rights and emancipations. This movement was also supported by the famous male writers of the time among whom Jalal Al-e-Ahmad marked a prominent place. He was keen enough to properly explore women's situation in his works and notice the drastic effect of modernization upon women's situation. Hence, in this study, we try to investigate Al-e-Ahmad's short story entitled “Pink Nail Polish” 1948 with respect to Bakhtin's Carnivalesque's theory. Furthermore, it is shown how Bakhtin's new literary mode can create the excellent chance of studying Iranian women's situation properly. Finally, we explain that due to the drastic change of Iranian women's situation towards modernity, they may lead a double life if their rights are not respected. This can lead to a disproportionate relationship between the husband and the wife as the marital infidelity becomes rampant.

Toni Morrison faces a great challenge in representing the Atlantic slave trade. In contemporary narrative form, the novel, Beloved, portrays the devastating effects of forced transnational migration. She confronts conventional silences surrounding the aspect of slavery by presenting displaced Africans on their way to America. Her text defines both black literature of the late twentieth century and troubles the status quo as an experiment in aesthetic expression which demonstrates the legacy of trauma fabricated in American culture. She stylizes her narrative form of language for particular effect by using direct references and subtle allusions to the aspect of slavery. Drawing on the coded discourse of oral history and slave narrative as fashion of writerly texts, Morrison takes her readers as participants in the construction of cultural memory. The present article takes up the formalistic and cultural approach to critique the aesthetic means by which Morrison’s verbal style signifies the content of her story, Beloved, which results in a new genre as African-American literature that establishes itself in the late twentieth and the present century world literature.