تراب جنگی قهرمان

The Qur'an is a heavenly book that hundreds of translations have been written for it with different methods and styles in order to reach its truths. For this purpose, in this article, an attempt has been made to analyze the contemporary translations of the Qur'an by Makarem Shirazi and Khorramshahi, and to examine the methods and styles in the aforementioned translations and compare their stylistic and prose characteristics. The basis of the translation model of Kashf al-Asrār, which is considered one of the precious treasures of Persian language and literature and has clear and eloquent prose, was achieved in the best way and style among these translations. Based on this, the mentioned translations have been described and analyzed from the perspective of semantics and at the linguistic level. According to the investigations, it can be said that the mentioned translators did not follow a specific and uniform style in translating the Quranic verses. In most of the cases, like the discovery of secrets, the verbal sentences have been interpreted as a verbal sentence. However, in the translation of noun sentences, which are mostly used to emphasize Quranic concepts and teachings, Makarem Shirazi interpreted them in the form of verbal sentences, unlike Kashf al-Asrār, in most cases, which have less emphasis, while Khorramshahi interpreted noun sentences as Kashf al-Asrār in most cases as noun and emphatic sentences and was faithful to the words of the Qur'an.

The Quran is a heavenly book revealed in the Arabic language, therefore providing an elegant translation of it is the only way to access its content for non-Arabic speakers. Since a complete translation of the Quran is not possible regarding its peak eloquence and rhetoric, analyzing and scrutinizing Quranic translations is necessary to identify their strengths and weaknesses. The present study aims to analyze the contemporary linguistic translations of the Quran by Fooladvand and Khorramshahi, examining the methods and styles in these translations, and conducting a comparative analysis of the literary and rhetorical elements and their stylistic features based on the interpretive model of Kashshāf in the best possible way among these translations. Accordingly, the mentioned translations are described, analyzed, and examined in terms of semantics and linguistic aspects, indicating that the translators have not followed a specific and consistent style in translating the literary and rhetorical aspects of the Quranic verses. In most cases, they have failed to depict a clear image of the meaning for the target language reader through literal and under-literal translation of the verses, only managing to translate Quranic verses based on the interpretive model of Kashshāf in some instances.

Modernism is one of the important literary currents of the twentieth century, which due to its special literary features, distanced itself from traditional forms and ancient expression techniques. Recognizing and explaining the features and characteristics of modernism in the short stories of contemporary Iranian writers is the main subject of this research. In this article, considering the modern short stories of Abu Trab Khosravi, Ali Khodaei, Mohammad Keshavarz and Mohammad Rahim Okhovvat, from each of the mentioned authors, we have tried to give some short stories in terms of the application of the components of modernism according to the views of Charles May and Susan Ferguson. Analyze and review.

The present study is a theoretical study that has been done by library research method. The study area and community is a collection of short stories by Abu Torab Khosravi, Ali Khodaei, Mohammad Keshavarz and Mohammad Rahim Okhovvat.

Each of the authors has been able to use the components of modernism such as the use of eliminative and metaphorical plots, open end, attention to the internal characteristics of the characters, using modern themes (alienation, loneliness, isolation). And individualism), uncertainty, mixing dream and reality, telling the story as a minimal schema, using the characters of the story as a mental state, describing the dreamy field of the story, etc. to figure out a form of modernism in their stories.

The results of the research show that although the extent to which the components of modernism are used in the stories of the authors in question are different, but certainly the special attention paid to the use of these components in storytelling provides the necessary grounds for Has provided them with a modernist attitude. In Okhovvat`s stories, the use of traits such as the isolation and loneliness of the characters, the fluid flow of the mind, and the personality as a state of mind is more pronounced than other traits. In divine stories, the use of elimination and metaphorical plots is more prominent in combining the element of fantasy and reality, symbolism and also the incoherent narration of events. In Khosravi"s stories, the use of symbolism, de-familiarization, uncertainty and also the expression of combining dream and reality is more. In addition, in the farmer"s stories, the use of plots, the expression of loneliness and isolation of the characters, the minimal scheme, the style and the lyrical tone, as well as the uncertainty are more prominent.

Descriptology considers description not as a small part of the narrative, but as an independent view and a broad perspective on what narratologists have previously proposed. This indigenous theory is not only a practical device for the practical analysis of the text - both poetry and prose, and fiction and non-fiction - but is based on a theoretical and intellectual basis for a new look at literature from a new perspective. Descriptoligists believe that many of the beauties and features of a literary text are possible by examining the techniques and methods and details of descriptive application. In this regard, the historical novel Lazika by Heidar Ali Kamali (1348-1248 AH) due to its textual capability and special narrative-descriptive features, has a good capacity for application, critique and development of descriptive theory. In addition to introducing the theory and the text under study, this article tries to analyze the place of description in Lazika novel in a structuralist-leaning way and, in addition to explaining, evaluating and completing the theory, tests its practical applicability in text criticism.

This study examine the fictional role and functions of heroes and villains in folk tales according to the works of Samad Behrangi and according to Propp’s theory and also examine classification or idolize of heroes and villains and analyze and explain the role and fictional role of heroes and villains in mentioned works. Samad Behrangi is a contemporary writer that influenced by folklore and Azeri national literature has written stories for children in the field of social issues and since in folk tales structure of text fined identity in confrontation between the hero and villains and the role of heroes in the stories is fighting with evil and villains characters and role of villains is the stories is creating type of disaster or making damage and loss, according to this role and fictional function of heroes and villains in the works of Samad Behrangi  are described and analyzed and some tables have been drawn. Therefore, according to the performed studies, it can be concluded that the heroes and the villains in these works have a simple and uniform state that is less transformative and the heroes are more likely to reach out with external factors and goals and also in some cases overlapping of the role of the villains and assistants can be observed.