بیژن ظهیری ناو

The story of Yusuf, the messenger of God, has been narrated in Holy Quran completely. God has entitled this story as "احسن القصص" which means the best story of all. A part of this story is related to the event in which Yusuf and the Egyptian women faced with each other (completely narrated in the 31th verse of Yusuf sura). In this part which has been narrated in Persian literature for years, we have often talked about orange or Bergamot orange. However, by observing nearly 63 translations of Quran, we can clearly see that only 5percent of the translators have translated this word as Bergamot orange and 95 percent of them have translated it as a kind of cushion or food. in this field, we can regard the theories below. 1. Due to the logic and the techniques of Quran`s storytelling, the best equivalent for the Arabic word " متکا" which has been written in the 31 verse of Yusuf sura in Quran, is Bergamot orange. 2. By surveying this verse we can figure out another verbal miracle of the Holy Quran in which God mentions the simultaneity of Yusuf`s lifetime and the importation of the Bergamot orange to Egypt . 3. The fact that Zuleikha suggested the Egyptian women in the meeting to eat Bergamot orange signifies the costliness and novelty of this fruit and it also shows her deceitfulness. 4. In Yusuf`s lifetime there was no orange and they only ate Bergamot orange

This research has been conducted in a descriptive-analytical manner based on library studies.With an introduction regarding the role of the unity of poetic elements, referred to with terms such as unity, coherence, and vertical axis, we will gradually accompany the formation of a ghazal to propose a method for the unity of elements in Persian poetry.This approach will help us answer the question (hypothesis) of whether maintaining the unity of poetic elements contributes to the flourishing of poetry, using the eight criteria outlined in this study.

Arūz (prosody) is -one of the oldest and most common methods of measuring and classifying the weight of poetry - from the second century (A.H.) until today, has been the measure and standard of measuring the weight of Persian and Arabic poetry. A style book that many consider to be the origin of the Arabic language and its creator is an Arab scientist named Khalil Ibn Ahmad Farahidi. By examining the historical course of Persian poetry, this research seeks to find the linguistic and geographical origin of prosody.

The present research is a theoretical study that was conducted in the style of a library research, and to identify the origin of Arūz, the historical and literary path of Persian poetry was followed from before the era of Christ (PBUH), when Persian syllabic poetry was written in a quantitatively weighted form. The path of evolution of syllabic style to the emergence of prosodic style has been followed in order to determine the geographical and linguistic origin of Arūz. Regarding the background of the research, no focused work has been done in this regard and it has been mentioned sporadically.

The history of several thousand years of Persian poetry is indicative of the fact that Iranians used to sing poetry in a syllabic style with little weight, they had their own weights, and the prosody style is an evolved form of Persian syllabic poetry.

So Arūz is not a one-time event that was formed over centuries and Khalil Ibn Ahmad only systematized it. Being aware of the fact that the Arabs had no history in the art of music and borrowed and learned it from the Iranians after Islam, as well as the high influence of Arūz on music, requires Khalil Ibn Ahmad to be Iranian or to have learned it from the Iranians. In the 6th century, Yaqut al-Hamwi removes this ambiguity when he clearly points out that Khalil ibn Ahmad is an Iranian and a Persian speaker in his book Mujam al-Adba. Because in the second century (A.H.), the language of science and government in the Middle East region was Arabic, Khalil Ibn Ahmad proposed this method in Arabic. Therefore, the origin of Prozod can be considered Iran and the Persian language, as an Iranian person wearing Arabic clothes.

One of the most important topics in the field of aesthetics in literature is imagery in literary works using rhetorical techniques such as simile, metaphor, irony, visualization and recognition. The head of the Quran is full of images; On the other hand, Saadi owes a large part of his rhetoric to Arabic literature, especially the Holy Quran. The purpose of this research is to explain the position of Quranic verses and phrases in Golestan Saadi's stories. In this article, we are looking for answers to these questions: What are the characteristics of the language of Quranic images in Golestan stories and how are images based on Quranic expressions and combinations used in those stories?

The research method is library-based and descriptive and content analysis; In this way, the anecdotes of Golestan were carefully studied and the cases related to the Holy Quran were extracted and the rhetorical and visual effectiveness of the texts were analyzed Discuss Simile“It is an expression of similarity between two different things” (Shafi'i Kadkani, 1358: 53).Life is in the support of one breath and the world is existence between two absences. They should buy religion from world sellers, sell Yusuf, what will they buy?! It is an allusion to verse 60 of the blessed Surah "Yasin"; Selling religion to the world has been compared to selling the gold of Yusuf's existence to worthless gold coins and has created a beautiful image.Personification.Giving life to objects, including the phenomena of nature, so that they are able to perform human tasks (Seyed Ghotb, 1995: 61).The tyrant got angry at this and turned away and did not spare him. Until one night, the kitchen fire fell into his firewood storage and... (Saadi, 1363:208). It is taken from verse 206 of the blessed Surah "Baghare" where 'conceit' is used here to mean pride and is likened to a person who leads a person to sin. Imaging is a type of personification.Metaphor."It is a simile in which all its elements except moshabah and moshabaonbe have been removed, and a simile is added to it to make it clear that what is meant by it is a pseudonymous meaning and not a true meaning" (Yaghub, 1987: 35).Whoever does not take the right path to the discipline of the world, will be caught in the torment of the future. (Saadi, 1363: 665). It refers to verse 21 of the blessed Surah "Sajdeh" and the contrast between worldly and hereafter punishment and tasting the punishment is a metaphoric image creation.Irony."In the word, it means to speak in secret, and in the reformation of the science of expression, it consists of mentioning the required will and the required will, subject to the permission of the required will" (Taftazani, 1429: 396). Hit the snake's head on the enemy's hand. If this prevails, you will kill the snake (Saadi, 1363: 646).

One of the prominent features of the Holy Quran is the use of images to express various issues. Image creation means the use of various literary and rhetorical tools such as simile, metaphor, personification and irony which makes the understanding of abstract concepts more concrete and the understanding of divine verses easier. Most of Golestan's anecdotes, in which Quranic verses are referred to, are based on the image that the author used the language of the Quran to illustrate. Considering the predominance of imagination and imagery in the industries of simile, metaphor, and irony, it can be concluded that Saadi paid more attention to the Qur'anic style in his story-telling than the illustration aspect of Golestan's stories

This study examined the novel The Decline of Colonel. The novel is characterized with a dark and mysterious atmosphere. The novel narrates the story of an army officer of the Pahlavi regime. Taking an interdisciplinary approach, this study explored the novel. To clarify some concepts, such key concepts of Bourdieu’s social theory were defined as capital, habitus, doxa, male dominance, and symbolic violence. The study showed that the suffocating and scary atmosphere dominating the novel indicates a controlling power behind all movements and behaviors of the characters. The controlling and dominant power manifests in some cases in the form of physical violence and reaches its peak in assassinating the colonel’s family members. In the novel, the author of uses a critical attitude towards the discourse of power and dominance to depict the the socio-political status of Iran about the Islamic Revolution. He depicts the challenges and contradictions of Iran in dealing with the drastic change.

Today, literature and poetry have a more comprehensive definition than mere literary expression with academic meanings and tools. Literature is the collection of all the scientific abilities of the language in the field of structure and richness. The artistic creativity of the poet and the employment of excellent compositions and themes lead to the production of a literary and artistic work, which can be found in the excitement and expansion of the audience.
The aim of this research is to reach the communication network of all the factors related to the language and the appearance of the word, which not only carries the meaning, but also creates a different meaning and concept from the apparent meaning that results from the phonetic, lexical or visual mechanism.
A network that is referred to as "artwork". Artistic device (prime) is a meta-array approach to the aesthetic tools of language in poetry, which formalists consider to be the art of alienating language from the mind of the audience.

The foundation of art is original elements, themes, hidden images and the music of words, which leads to poetic discovery in the form of meaning. Vocabulary highlights and defamiliarizations that remove the dust of habit from words and combinations and create a lasting artistic-literary work. Ghazals of Iraqi style, especially Diwan Shams, Saadi and Hafez, are precious works which by formalistic analysis and examination, convincing and solid evidences are found in them. 

Usually, aesthetic issues in poetry are measured with literary arrays, but the formalist theory has opened a new way in literary criticism, which instead of separating word and meaning, emphasizes the union of the two in the form of shape. In this regard, the following questions are answered:
How can the works of art in Molavi's, Saadi's and Hafez's ghazals be interpreted?
What do the topics of "dominant aspect", "surprising", "defamiliarization" and "foregrounding" have to do with the art-making component? 

By studying a library of reliable sources and extracting comprehensive evidence from relevant poems based on formalistic criticism, the author has analyzed poetic examples and considered the prominent role of words and phrases in the association of meaning.

In this research, the prominent role of language in terms of words and combinations, systematic images and the music of words has been investigated by presenting various art forms and norm deviations and the involvement of rhetorical sciences.

Literary and artistic creations depend on the highlighting of words, combinations and aesthetic themes with the organized confusion of ordinary speech, which elevates poetry to the level of "artwork". In this regard, the poet is not satisfied with mere arrays, he paints with words and plays music. With phonetic, rhetorical, visual and auditory works of art, it avoids habit, defamiliarizes and breaks norms. His arrays are no longer trivial and repetitive. By composing multifaceted verses, he makes a new innovation. For example, Molvi reaches his dominant form in music by using sounds, nationalities, repetition, self-made lines and incomprehensible words along with Etanin and Afa'il and Orad Khanghahi.
With his simple and noble language, Saadi weaves all kinds of arrays together in the form of a spider's web in the sonnet, and Hafez uses all the elements and tools of poetry in terms of language, meaning and music to be able to use arrays.

A comprehensive understanding of the multi-faceted aspect of the word - as the cornerstone of the text - holds particular significance in the translation of the Holy Quran. Especially when faced with "polysemous words," the translator must be aware of all these meanings to select the essential meaning based on the text's context. However, considering the possibility of the word being "foreign and alien" is crucial, an approach often overlooked in the Persian translation of the term "متکا" in Surah Yusuf, verse 31. In a part of this verse which narrates the confrontation of the Egyptian women with Yusuf which was an invitation by the Emir of Egypt’s wife, it is mentioned that "واعتدت لهن متکا" meaning Zulaykh gave them متکا meaning repast and then furthers that she gave them a knife. While the literature depicts the presence of oranges or citrus fruits in the hands of Egyptian women in the story of Yusuf in the Persian poetry and prose of Persian since the time of Rudaki until now, Persian translations commonly neglect this. A survey of 63 Persian translations of this verse revealed only 5% (3 translators) translated the term as "ترنج" (Citrus), while 95% (60 translators) translated it as a seat, gathering place, fruit, or a type of food. A review of 168 Arabic books on interpretation, hadith, and dictionaries showed that 101 considered "متکا" a Hebrew word, interpreting it as "ترنج" (Citrus) or orange. Therefore, the best equivalent for "متکا" in this verse is "ترنج" or orange, emphasizing the need to expand the semantic scope of polysemous words to identify non-Arabic words in the Holy Quran and highlighting the importance of aligning Persian translations with the text's context and logic.

One of the well-founded romances of Ferdowsi's Shahnameh is the story of Zal and Rudabeh. A work that has beautifully mixed epic and love and narrated it in the language of poetry. Similar to this story in European folk literature, there is a story called Rapunzel, which has significant similarities with the story of Zal and Rudabeh. The purpose of this research is to compare the two stories and examine whether the story of Rapunzel is adapted from the story of Zal and Rudabeh or not.

Based on the theory of narratology, this research compares the story of Rapunzel and the story of Zal and Rudabeh. After the paleontology of the stories, it was found that the story of Rapunzel was printed in Italy a century before the introduction and arrival of the Shahnameh to Europe and existed in the folk literature of the people of the Danube coast; Therefore, the hypothesis that Rapunzel is adapted from the Shahnameh is rejected.

In the discourse analysis of these stories, common elements and symbols were found such as the originality of love, tower and height, mountain, hair and hair, and child, which points to the archetypes and common cultural views of the origins of both stories.

In both stories, love is introduced as the path to excellence and is a process that opens its way to union and finally, victory is with love. On the other hand, wisdom and love are introduced as the wings of flying and excellence, that wisdom without love and love without wisdom have no meaning. "Highness" which appears in the image of the tower in both stories, indicates the inner desire of man to move forward and what can provide the ground for this exaltation is the hair of Faroheshta Yar, and finally, having children refers to the continuation of romantic nature and immortality, which in The story of Zal and Simorgh leads to the birth of Rastam, and the story of Rapunzel leads to the birth of twins. In general, although these stories do not have the same narrative process, in terms of discourse and the message of the work, many common aspects can be counted in them, which shows that this similarity is not accidental.

With the development of the language-based learning approach, language pedagogy takes more advantage of Child and Adolescent literature in teaching to non-native speakers. Besides, language plans were driven to adopt certain expected features; such as modern grammatical and morphological structures, expressing tangible meanings and events of everyday life, being pleasant, equipping learners with eloquence methods, and applying general and universal language pedagogy issues. Since literary texts have various levels and types, language education policymakers need to consider them in designating language plans. With survey methods, this paper illustrates the significance role of Child and Adolescent literature in teaching Persian to non-Persian learners. To achieve this goal, the authors created a questionnaire with eight literary genres in Child and Adolescent literature at three levels of language proficiency. The questionnaire was sent non-randomly to 94 Iranian teachers, experts in teaching Persian to non-Persian speakers and acquaintance with Persian literature. The collected data was analyzed using SPSS 22, calculating one-way Chi-square, applying Friedman and Mann-Whitney statistical test. Data analysis reveals that the relevant indices for beginner levels are either minor or insignificant. However, in the intermediate and advanced levels children’s tales and stories, along with adolescent poetry, are more emphasized.

What is known as mystical literature today is the literature that was formed based on the teachings of Islamic Sufism. The first representatives of Sufism were identified with the works of later periods. "Noya" considered the entry of Qur'anic interpretation into the world of Sufism, coinciding with the formation of mystical teachings and causing the emergence of Sufi technical terms (Noya, 1994: 132). Sufis wrote educational and propaganda books to propagate their religion. The penetration of mystical thought into existence and man and his behavior among the interested people, especially from the fifth century of Hijri, produced many works. The main issue of this research is the analysis and investigation of Maaref as one of the most indicative mystical works of the mentioned period from the literary aesthetics point of view. The main question of the research is how the beautiful aspects of the mystical language were manifested in the Maaref of Bahavalad.

  This is a research at the theoretical level with the library study method and relying on the analytical method. The focus of the research is the rhetorical features in the text of Bahavalads Maaref.

Prose writers, especially the Sufis of the era, have given great importance to the beauty of their prose, and the effects of beauty have appeared more in Sufi prose, and this has led to the emergence of technical prose (Gholamrazai, 2009: 381). The characteristics of aesthetics in the Maaref of Bahavalad are: the frequency of similes in the words of Bahavalads Maaref is more than symbols and metaphors. Metaphor is the basis of language, the creator of meaning and a necessity of style to enhance and decorate words. The metaphors of Maaref are in the field of plants and growth. The frequency of diagnosis has also been a place of attention and it is a means of expressing situations, understanding themes and understanding it by people.Bahavalad has sometimes used irony as required by the word; Reflecting on the entire text, we will find that metaphore is rarely used. And in addition to the use of popular words, Bahavalad has acted widely in the use of popular examples; Example: "Firstcoarse then soft" (2/78). By the method of quoting and describing the behavior and speech of religious figures, Bahavalad has used mystical themes as required; Example: "As Ezra and Wamiq are" (1/229), "Adam and Eve" (ibid., 1/229), "Jalinos" (1/303), "I said, is my ego like Abulahab that it burns me like this" (1/62). Diversity is seen in the use of opposite and mutual words in Maaref. Bahavalad symbolically used four ducks, roosters, peacocks and ravens in a cage to show the negative aspects of the ego (221/1). The elements of balance and music of speech are things like repetition, phonetic arrangement, punctuation, which have provided the means for the melodiousness of Maaref.

With a romantic attitude and mystical language, Bahavalad expresses his ideas simply and fluently behind everyday events. Imaginations in his words replace scientific terms. The beauty of Maaref style is: conversational nature and the influence of linguistic factors of the environment and the age of the author and the oratory nature of the text - which is specific to educational language in assemblies. Bahavalad's Maaref style is similar to Khorasani style. The metaphorical nature of mystical language is evident in education, which is related to the field of agriculture and plants. The original spiritual arrays and the categories of the science of meanings and the subjects of the science of expression have made his speech melodious. Mystical concepts and themes are expressed indirectly with allegory and code. Folk proverbs and sometimes superstitions are reflected in the text.

Research in Persian grammar books and representing their ways of expression and teaching following new educational theories can open the way for grammar writing and scientific education. The purpose of this research is evaluation the educational prose in Persian grammar books based on its communicative Competence. In this research, the data was collected in the form of a library, which was done by examining 9 Persian grammar books. Data analysis was carried out in a descriptive-analytical way and by designing reviews based on the approach of applied linguistics and teaching instruction. Based on this, the characteristics of each of the basic theories were extracted and numbered as an index so that the findings can be inserted in front of them. According to the findings of the present research: Persian grammar books are written according to the structuralist or formalist descriptive order and in an analogical way. In none of them teaching grammar indicators such as context-oriented, considering form and meaning and function, concept-oriented, task-oriented, production-oriented, and paying attention to speech types, have not been the teaching criteria. In this text, the emphasis is on linguistic knowledge; No communication skills. According to this study, Persian grammar is not written based on the corpus of linguistic data.

Dowalrānī Xezerkhān tells the love story of Xezer (xażer) Khān, Ala-edin khalji’s son, and the princess of Gogojrāt named Dīveldī. This Masnavi written in the poet’s late life comprises two parts. The first part was written at the request of Xezer Khaan in 715/1315 and the second part, including 319 extra verses about murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. The poetic language of this historical tragedy is mature, simple, pleasant, and free from conventional conservatism. Multiple literary compositions, simple but skillful illustrations, Amr Khusraw’s special subject headings, and new styles on writing Dah-Nameh are the most outstanding particularities of Dowalrānī Kheżerkhān. None of Amr Khusraw’s historical Masnavis have as much special names as Dowalrānī Kheżerkhān, including good historical, cultural, political, geographical, and social information about the history of the rulers of India, especially Khalji dynasty, their methods of government, political relations, prince's choice, royal wedding, names of people, places, and positions, and also government officials. Dowalrānī Kheżerkhān is the only work of Amr Khusraw, which has a version belonging to the poet's lifetime. This manuscript under the number 178 is preserved in Arg Library of the Republic of Afghanistan. Another feature of the book is illumination of the new aspects of Amr Khusraw’s life and thoughts, as well as mentioning of his son’s name, Ein-ud-dīn Mobārak, and the poet's story of desertion from Mongols.

One of the most important components of magical realism is the high frequency of elements such as sound, smell, light and such elements, which ultimately fills the space of the work with illusion and imagination and blurs the boundaries between reality and fantasy. The study of the novel "Night Harmony of the Wood Orchestra" by Reza Ghasemi shows that the sound element has a high frequency in this novel. In this regard, in the upcoming article, the prominence of the sound element in creating the atmosphere of the novel has been investigated. The results of the research show that the author has greatly benefited from the sound element to create the atmosphere of the novel, and considering his experience in performing arts such as theater and music, the sound element plays a central role in this novel and sometimes, the function of an ordinary voice in creating the atmosphere of the novel is equal to several sentences and even pages. In total, these sounds embody the harmony of an orchestra, which together induce the utmost fear and terror in the wooden building where the story takes place. Most of the sounds used in this novel are the sounds of human and animal characters, the sound of objects and the sound of musical instruments. In general, through these voices - which are often terrifying and mysterious - the author conveys issues such as identity crisis and immigration problems to the reader's mind in an artistic way and with maximum effect.

Of Devalrāni Khīzr Khān’s Collection, one of Amir Khosrow Dehlavi’s significant works, 4200 couplets were composed in 715 H./ 1315 and 319 couplets during 720-721 H./ 1320-1321. There are two manuscripts of this collection that were transcribed by a scribe named Darvish Mohammad b. Ali and were taken out of Iran during the Iran-Ottoman war. They are now kept at the Hakim-Oghlu and Hagia Sophia Libraries. The MS number 903 has Safavid Shah Abbas’s donation note and stamp; and MS 917 bears Safavid Shah Tahmāsb’s stamp. Of the Devalrāni’s Collection there exist two unfinished copies belonging to the years 720 H./1320 and 894 H./1489. However, MS 917 is counted as the oldest complete copy of this work by now. The distinct feature of the manuscript 917 is it’s a scholarly introduction in the initial pages of the manuscript by the person who commissioned the transcription.
The present article attempts to examine and reveal the codicological aspects of these two manuscripts.

  Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. 

The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. DiscussionUsing mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most.The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality.Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree.   Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals.     The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. 

Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind.   Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.

Audience persuasion, as a process used to change the audience attitude and associate him with the speaker's beliefs, is one of the main objectives of the educational mystics texts including the spiritual Mathnawi (Masnavii Ma’navi) of Jalalu'ddin Rumi, Mawlana. Mawlawi all over the Mathnawi has tried to convey the mystical and religious concepts to the audience by resorting different ways of influencing the audience and has benefited from several verbal and nonverbal or mystical and non-mystical tools for this purpose. One of Mawlawi's ways of achieving this goal is to benefiting from the storytelling ways and expressing the under considering concepts in the form of conversation and debate among the characters of the story. Among the beautiful stories of Masnavi that clearly illustrates this theme is the story of Nakhjiran and Lion. Rumi promotes this story in a conversational way and from the language of each of the debate parties using specific methods to satisfy the opposite party, deals with the expression of common beliefs and faiths in the context of strive and trust. In this debate that takes place in two major parts: Debate between Nakhjiran and lion, debate between Rabbit and Nakhjiran; each of the debate parties uses specific ways to satisfy an opponent that most important of it includes: protest to verses and narratives, mentioning the intuitive, intellectual and conscientious reasons, use of body language, allegory and ...

This study by relying on theory of linguistic behavior and social status of "Alfred Adler" and theory of Prospect's" Karl Sover "examines the world of the texts of Jamalzadeh's stories in terms of body language and non-verbal communication by definition of geography. According to Adler, language behaviors are a reflection of social and environmental situations. In the prospects of the text, cultural geography is formed given to human beings and behavioral changes. In this article, descriptive-analytical method and library studies have been used by examining non-verbal communication. The purpose of this study is to refer the function of linguistic relations in characters and human species in Jamalzadeh's stories and its conceptual effect on the relations of human species in the story. Sometimes. The story in formed of various human species (types). The results of this study showed that non-verbal communication is so significant in Jamalzadeh's works and Jamalzadeh uses linguistic and physical behavior to express intangible feelings and intangible concepts. The reasons for that are lexical poverty and conceptual suitable inadequacies. Lifestyle has an effect on dynamic structures. From the view of amplitude, according to the diagram, the most of non-verbal language behavior is observed in the eye component and the lowest linguistic behavior belongs to the organ component.

Socialist realism is a sub-branch of the school of realism in which it emphasizes the reality of society with a view to oppression and rises in direct opposition to power-oriented thinking and the accumulation of power and wealth among a particular class.In fact, Ahmad Mahmoud, one of the Iranian writers of that time, by accepting this idea and reflecting it in the novel Neighbors, seeks to show the subordinate society and its opposition to the society of power and wealth, and tried to introduce the components of social realism. It has more and more ugliness and filth of the capitalist system.This descriptive-analytical study seeks to answer the question: What are the components of socialist realism in the novel Neighbors?And how did the author in the novel Neighbors present the society of his time under the idea of ​​socialist realism? In this research, the components of socialist realism in the neighbors' novel are analyzed and explained in order to reveal and explain the society portrayed by the author according to the reflection of the ideas of socialist realism in it. The findings of the study indicate the existence of prominent components of socialist realism in the novel Neighbors. With the help of these components, the author has tried to make Iranian society realistic, under the influence of oppression and the accumulation of power and wealth. The ruling system shows the acute economic conditions and the emergence of poverty and suffering in the working class and the creation of class conflict

This article aims to determine the importance of metaphor and metonymy as indices in teaching Persian to non-Persian speakers by applying a survey method through literary texts. A questionnaire containing eight items of metonymy and six items of metaphor in three levels of language proficiency was prepared to achieve this goal. Using a non-random available and judgmental method the questionnaire was sent to 94 Iranian instructors, experts in teaching Persian to non-Persian speakers, and also acquainted with Persian literature. The data were analyzed with SPSS, calculating one-way Chi-square, Friedman, and Mann-Whitney statistical methods. Part of the achieved results suggests that the sample population considers all the indices relevant to metonymy and metaphor as ‘insignificant’ for both beginner and intermediate levels. This result challenges the belief that metonymy, due to high frequency, is a type of ‘norm’ in teaching Persian to non-Persian speakers. The sample population also considers the index of ordinary metaphors as ‘insignificance’. However, those instructors lacking the experience of teaching literature emphasized the significance of these indices. On one hand, this approach reveals the effectiveness of experience in teaching literature when encountering literary metaphors; on the other hand, it indicates removing the border between language pedagogy and teaching literature in case of metaphor is a technique of creating literariness.

The subject of the present article is to study the images of the snake, dragon and their belongings in the Shams' Sonnets that Mowlavi introduces by these images and many complex concepts. For this purpose, first introductory material has been expressed with the titles of experience and image, the concepts and images of poetry and animal images. In the main part of the research, the relation of twenty four comparisons such as the beloved, lover, human, barrier, duality, world, sensuality, suffering and disaster, trapped, separation, language, wish, silver and gold, night, food, despair and God's attention are embodied with the limited component of the snake and dragon along with twenty five common similarities, such as destruction, fidget, sting, prevention, belongingness, duality, independency, humility and submission, life and death, strength, dignity, filth, excitement and pregnancy, movement and effort, and that it shows the maintaining deep mythological, religious and mystical patterns. Since the images of the dragon and the serpent in the Shams' sonnets, carries the dual meaning of positive and negative, rebellion and submission, grace and Fierce, hope and disappointment, suffering and happy, from the spirit and soulful experiences of excited and stressful of Mowlavi; This matter states the perfectionism, the breadth of thought, the exploitation of his contradictions and optimism. Unlike the banal experience, the reader based on Mowlana's positive view of the snake, understands the wise vision of this great poet, that all creatures are necessary in the best system of God.

The post-feminism tendency in postmodernism, with the aim of denying gender differences and proving women's right to liberty and awareness, has rejected the principles of traditional ethics, which have an absolute view of moral and immoral behaviors and attribute some of these behaviors to women according to gender. Instead, this tendency believes in relativism of moral principles.Having entered literature and consequently poetry and postmodern sonnets, the same idea, with a relative look at ethics and in an attempt to break away from traditional beliefs about women and feminine ethics, has led to the emergence of erotic literature, which emphasizes the sexual and physical aspects of love.Postmodern lyricism paved the way for poets to protest against the traditional view, and encouraged female poets to,by mentioning erotic issues,free themselves from the barriers that custom and tradition, in the name of morality, had extended around them.The present study, which has relied on library research through a descriptive method, tries to comparethe post-feminist perspectives with the approach of moral relativism in postmodern sonnets and shows how erotic and sexual-oriented views toward women can leave negative effects on the thoughts of society.

Paradox is one of the literary techniques in the poetry of the Safavid poets. Hazin-e Lahiji, like so many other poets of that age, employed this technique in his pursuit and showed that "unfamiliar meaning". Paradox is used in the poetry of Hazin-e Lahiji for the purpose of defamiliarization and exoticism. The poet in order to create new implications and subtle and insightful points and also to express mystical notions, Love, free thoughts and ethical arguments has used this literary figure. This article is comprised of some parts. At the beginning and in the theoretical section and literature review, Paradox is defined and its difference from other literary terms, and the state of this literary trope in literature and literary glossaries in the past and present have been discussed. In the practical part, the different kinds of paradox, such as verbal and semantic paradoxes, descriptive and relational compounds have been explained and the features of paradoxes in Hazin’s poetry and synesthesia as a kind of paradox have been discussed.

Firdowsi's Shahnameh, the poetic mythological epic of Iran, is created on the base of opposite forces of the world, namely Iran and Aniran and the battles of their people, because the design of the mythological history of Iran is also basically created on the intercourse of opposites .One of the most comprehensive philosophical views on history is  Friedrich Hegel's attitude. In this view, the nature and purpose of history is the same as nature of the human, and the nature of the human is the attainment of consciousness and freedom. This freedom can only be realized gradually and dialectically; hence, in the Hegelian philosophy the war is a way to dialectical furtherance of history and the inception of the struggle between human beings, as gods and servants, has been introduced as the basis for achieving self-consciousness. The battle between human beings in Firdowsi's Shahnameh resembles the dialectical relation of "Gods and Servants" in Hegel's philosophy. In the mythological part of Shahnameh, the achievement of self-consciousness is only through the battle of the two sides of the opposition, as gods and servants in the battles between Jamshid and Zahak, Zahak and Kaveh (and then Fereydoun), the sons of Fereydoun, and the subsequent martyrdom of Iraj and his reprisal by Manuchehr. This essay, with an analytical-descriptive approach, will analyze the philosophy of the history of Firdowsi's Shahnameh, emphasizing  the relation between "gods and servants", and concludes that in this work all conflicts will achieve a resolution that can be identified as the moments of Hegelian dialectic, and in fact, the path to self-awareness and freedom, and this is the same as the possibility of reading  philosophy of mythical history of Iran in Firdowsi's Shahnameh based on Hegelian philosophy of history.