After the prologue of Ashouri, Chancellor of Ferdowsi University of Mashhad, Mohammad-Jafar Yahaghi welcomed all the participants, thanked the speakers and recalled the memory of the late Dr Ali-Mohammad Hagh-Shenas and censored the absence of any photo of him in the back of the gallery. .
He added that the conference is the key to befriending academic and non-academic literatures; “I hope that these two trends can unify in order to elevate the status of our literature and our literary criticism and join the global knowledge convoy.”
Ahmad Samiei Guilani was the other speaker to welcome the participants at the inauguration ceremony and then made his speech the theme of “criticism and the art world”. In his presentation, Guilani compared the nature of the work of art with the real world and the world of the game, then outlined the characteristics of a literary critic: “Literary criticism cannot be prefabricated. If we always rely on pre-fabricated theories for criticism, we will be unable to evaluate new and innovative works. ”
The next speaker was Sima Erami who read the special message from ‘Dariush Ashouri’ to conference attendees.
Another speaker, Iraj Parsinejad, found Dr Zarrinkoub’s method of compiling the history of literary criticism wrong, as it seeks the beginning of literary criticism in ancient times among the stories of poets or in books of rhetoric, and remarked: “Literary criticism arose out of the critical ration and its roots should rather be sought in the critical literature of the constitutional period or a little earlier in the works of Talbof, Maraghei or Malkolm Khan.
He called Fath-Ali Akhundzadeh as the founder of literary criticism in Iran and explained that Akhundzadeh first used the term “Qritiqa” (criticism) in its true sense.
He then mentioned other influential figures in the Iranian literary critical movement such as Naseem-e-Shomal, Aref, Bahar, Nima Youshij, Ali Dashti, Parviz Natel Khanlari, Tabari and Fatemeh Sayyah, stating that “each theory has a particular context of its own and cannot be adapted everywhere else. Adaptation presupposes sufficient and precise knowledge of theories as well as of works.