In the period of the Islamic Revolution, committed and committed poets to defend the values
of the revolution and promote revolutionary ideas have expressed the facts and criticized the
problems and issues of social, political, cultural, religious, moral, economic, etc. of their time,
which These poems have been called "protest poems". Protest poetry as a nascent literary
movement, a kind of social poetry and originates from the foundations of sustainability poetry.
Among the poets; TaherehSaffarzadeh, SiminBehbahani, SepidehKashani and FatemehRakaei are
among the women critical poets; This research tries to study the themes, methods of expression,
tone and format of protest in the poems of famous poets after the Islamic Revolution in various
fields (political, social, religious, moral, economic, cultural, etc.) and the common denominator
and Examine the differences between their poems in this regard.This research has been done in
a descriptive-analytical, statistical manner using library studies.Poets have a realistic and at the
same time cross-border attitude in criticizing the problems of the country or human society; As
their protest poems are a reflection of the socio-political conditions of society and time, and such
poems in addition to the active presence of women poets in the political and literary arenas of
society is a confirmation of the sociological theory of literature that always affects art from social
and political contexts. Ultimately, the purposeof protest poetry is to preserve Islamic values,
reform society, and combat injustice.The highest frequency of reflection of protest themes in
TaherehSaffarzadeh's poems and the lowest frequency is related to SepidehKashani, which has
been composed in the form of Sepid, Nimai, Ghazal, Rubaei, etc. in political and social fields,
respectively. These protests are global (foreign) and sometimes domestic, where the first type of
protests revolves around protests against the policies of world powers, and domestic protests are
related to injustices in society.
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