Abstract: The article is devoted to the peculiarities of the Persian avant-garde poetry of the 40-50s of the XXth century. The subject of the research is the most marginal branch of new Persian poetry attributed to Hushang Irani whose works had not been on the list of official Persian literature records for a long tiem and still remain an understudied topic in Irani studies. Based on the analysis of the journal خروس جنگی (Heeler), the authors analyze the phenomenon of a literary journal as an important tool for communicating the ideas of modernism and avant-garde in Iran studies. The authors pay special attention to the second period in the history of the aforesaid journal that was related to the activity of an innovative poet Hushang Irani who wrote and published the manifest of Persian surrealism. Analyzing the manifest, the authors describe the difference between the 'new art' and 'old art'. In order to 'rehabilitate' the author and define his true role in the history of new Iranian poetry, the researchers carry out an integral analysis of Iranian experimental poetry (they analyze goals, grounds, peculiarities of the method, poetical principles and techniques) that imply particular language 'deviations' (at the level of graphics, phonetics, vocabulary, syntaxis, semantics, style, etc.) according to the classification of J. Leech. In addition, the authors make an attempt to analyze Irani's poetry, from the one side, in terms of Russian formalism and, from the other side, in terms of European surrealism. Based on the research of T. Tavusi - Irani the authors conclude that there is a certain similarity between literary manifests of Irani and A. Breton and that Irani's poetry is close to the theoretical and practical ideas of surrealism.

Abstract: This article is devoted to the analysis of visual peotry in the literature of ancient Iran as well as the relation between ancient Persian literature of the Xth century and European (French) poetry of the XIXth - XXth century, in particular, the influence of the latter on the former. Based on the example of calligrams of a French avant-garde poet Guillaume Apollinaire the author of the article studies the hypothesis about European authors borrowing graphical forms and visual techniques from ancient Persian sources. Pulaki focuses on such genre of Persian visual poetry as توشیح (toshih) and its kinds. In addition,the author also views the phenomenon of visuality in the Azerbaijani style of Iran poetry of the XIIth century. The researcher analyzes forms of visual poetry in the literature of ancient Iran as well as analyzes the relation between ancient Persian literature of the Xth century and European (French) poetry of the XIXth - XXth century expressed as the influence of the former on the latter based on the examples of calligrams of a French avant-garde poet Guillaume Apollinaire.