The concept of 'literariness,' as one of the most fundamental issues in literary theory, was first systematically introduced by the Russian Formalist school. Theorists such as Shklovsky, Jakobson, and Tynyanov, by emphasizing elements like linguistic foregrounding, defamiliarization, and deviation, sought to provide scientific and linguistic criteria for distinguishing literary texts from non-literary ones. On the other hand, Nima Yushij's poetry, as a turning point in the evolution of Persian poetry, fundamentally differs from the classical tradition in terms of structure, language, and imagery, placing it in a suitable position for examining the concept of literariness. The present study, utilizing a descriptive-analytical method and relying on the theoretical framework of Russian Formalism, examines the components of literariness in Nima's poetry. For this purpose, a number of his prominent poems such as "Daroug," "Qoqnoos," "To Ra Man Cheshm Dar Raham," "Afsaneh," and "Ey Shab" have been analyzed. The research findings indicate that Nima's poetry, with features such as linguistic foregrounding, a break from traditional norms of meter and syntax, and the creative recreation of lived experience through linguistic innovation, largely conforms to the criteria of literariness in Formalist theory. This article strives to facilitate a dialogue between classic intellectual traditions and contemporary Persian literary texts by rereading a classical theory in light of modern Persian literature