حمزه محمدی ده چشمه

The purpose of the present research is analyzing the educational teachings of the stories taken from Kalila and Demeneh and Marzbannameh in the most popular Persian retelling of it by Mehdi Azarizdi; since these stories in storytelling for children and teenagers are widely used in Iran. The research method, in terms of practical purpose and based on nature was applied interwoven. Also qualitative and quantitative content analysis was parallel and convergent for a total of 46 stories “Kalileh and Demaneh” and “Marzaban Nameh” in the 8-volume collection “Good Stories for Children Good “were done. The qualitative content analysis is comparative summary type, and the dimensions and sub-components of literature were identified by reviewing the research literature and after confirming 61 components by experts, a checklist was used to match the content with the mentioned areas. In order to understand the themes, coding was done after repeated reading of the text, and the examples were placed in the seven dimensions of education based on common features with each of the primary categories. The findings indicated the identification of 390 educational teachings in the seven dimensions of education in these stories, and the Chi-do test confirmed the existence of a difference between the amounts of attention paid to educational teachings in the stories. The growth and strengthening of rationality and wisdom, social, moral, emotional and economic education are the most important educational teachings in the content respectively, and also are suggested for education in these dimensions; But due to the lack of content about sexual education and then political education, these stories are not recommended for educating children in these two dimensions.

plays Bahram Beyzaei is one of the playwrights who has depicted the contemporary world in the most beautiful way possible through the element of conversation and dialogue. Modernity, progress, technology, industry and finally the ridiculous world they have created for people in the society. Beyzaei has artistically put all the words and terms of conversation together in such a way that the tension and vulnerability of the characters in certain situations can be easily evaluated. A different technique that distinguishes Beyzaei from other playwrights is that he uses the characters of the play as the narrators of the work, and he does this with dialogue between the characters, autobiography, and dramatic monologues of the characters in the story. In this research, with the descriptive method and content analysis, the artistic functions of the dialogue element in Elliptical plays have been examined and analyzed. This author has given different functions to the dialogue element through character disclosure, symbolic typification and creation of new situations in his plays. The results of the research show that the creativity and innovation that Beyzaei has used in the narration of some of his plays is in the design of the plot and plot, which places the climax of the play at the beginning of the story. And it does this through dialogue and the words of the characters in the story. In other words, in order to avoid repetition in the narrative, Beyzaei resorted to the element of dialogue to depict many of the religious features and themes of the play in a different atmosphere.

Iranian literature is one of the hallmarks of Iran's long-standing civilization that embodies the customs and art of this land. The play is also a literary genre that has long been prevalent in the culture of this land and has remained in the form of mourning, surrealism, glorifying dances, painting, similitude and ta'ziyeh and more. Ancient Persian literature cannot be regarded as a stand-alone literature, but since ancient Persian literature and art have the same source, It can be said that the writings of the Iranian artist's literatures have been marked by the art of the show, and the dramatic literature has long been synonymous with other arts such as music and painting alongside literature. Persian literature is illustrative and meaningful and encourages the audience to visualize the text in order to get better And it is from this that an artistic interaction is formed between the writer and the reader, and by the act of reading and performing them, the dramatic capacity of the works is manifested. There is no doubt that ancient literature is the basis for the "representation of species" which can be seen in many works such as the works of the military, Attar, Rumi, Ferdowsi, Beihaqi, oufi, Tasuji and others. Since the play is the home of world media and one of the best known ways of enriching Iranian literature; The present study seeks to examine the dramatic capabilities of such works that remain anonymous and a powerful tool for the representation of Iranian history, art, culture and thought And express the place of these works in the field of theatrical literature.

Writers sometimes use verses to show their complete and artistic mastery in rhetoric and sometimes with poetic illustrations and skillful illustrations,by referring to verses,they have placed the speech with balanced and equal expressions and words on the basis of rhyme,leonine verse and paromoiosis,or they have created a masterpiece with alliteration,allegory,poetical aetiology,metaphor,personification and paromoiosis,and of course,masterpiece.Nafsat al-Masdoor,the excellent work of Mohammad Zeidari Nasavi, is an exemplary example of this;Especially that the author,while using the verbal virtues of verses and hadiths as well as the literary style of the Qur'an and the rhythm of words,has considered the deep conceptual use of verses of the Qur'an and hadiths. Adaptation and use of verses and hadiths is one of the most important features of technical prose and Nafsat al-Masdoor Zeidari is one of the most prominent historical-literary books in which the use of verses and hadiths is due to the authors' connection with the Ghaznavid sultans. And the Mongols and knowledge of political events and the expression of their taste-motivational goals and their political secrecy in the form of literary tricks, is one of the important features of the prose of this book. The present study uses the library method and content analysis to follow the common methods and methods of using the verses and hadiths of Nafsat al-Masdoor as well as the innovative methods of Zeidari in adapting verses and hadiths. It should be noted that in the verbal application of the verses, the methods of " paromoiosising the verse as a sequence of words", "relative that" and "noun in generative case" are included as additional explanations in the text, which indicate the author's power in combining words. The Qur'an is with its words. Spiritually, in most cases, the adaptation of verses and hadiths has been completed and completed without semantic mediation

Bakhtiari myths are narrated in simple language and it appeared so close to Farsi language, which combined with local one. However, in expressing other aspects of public literature, ie, tongues and proverbs, myths and stories, the main source of narration is the dialect of the area in question. Bakhtiari tales have semantic and structural similarities to linguistic proximity and the legends of the central regions of Iran. Regarding a few changes to these myths, most of them can be converted to a potential source of material for most audiences even in other regions. Apart from the importance of collecting such stories in the field of anthropology, sociology, social history of ethnic groups, etc., in terms of language, the inclusion of syntax, vocabulary and type of pronunciation, they have great importance in the structure of the tales. It is possible to record the syntax, vocabulary and pronunciation of their syllables by preserving and recording the stories. Moreover, in a period, it tends to use the official language to help disappearing dialects; accordingly, in this research one of the local myths of Bakhtiari (Sparrow story) has been collected and translated into Persian accent. Then, considering the descriptive method and content analysis, the story elements in this story have been analyzed. Due to the disappearance of many dialects and the new ones, the purpose of the present research is to preserve the stories and dialect used among them.

The imposed war as one of the great events of contemporary Iranian history affected the different areas of Iran's individual and social life.Literature - and especially poetry- also saw a profound transformation as one of the areas of Iranian thought and thought.With the onset of the imposed war, Iranian poets attempted to emphasize the role of identity in their poetry, using historical national and religious myths and designing epic characters in their poetry.The use of myths in sacred defense scriptures shows that Iranians still maintain their cultural ties with elements of the identity of the country's history and culture.And they use these symbols and myths to regain their identity.The function of myths in war poetry is more of a motive, and motives and feelings of stimulation are used in this way too.Therefore, the present study examines the functions and role of myths in explaining the identity, especially the national identity, by examining the works of poets such as gheisar Aminpour, Hossein Esrafili, Hamid Sabzevari, Mohammad Ali Mardani and Nasrollah Mardani To say that The mythical heroes of epic events are usually Namjoo supermodels who strive to fight and honor their nation and their independence.

Sana‟i is the true founder of the mystical system that has dominated the minds and hearts for centuries. In addition to Sufi texts such as Ghazali's Sawaneh and Lawaieh attributed to „Ayn al-Qudhat and Meybodi‟s Kashf al-Asrar, one can find his poems in Rumi‟s Masnavi and Fihi Ma Fihi, and etc. Considering that monotheism is one of the mystical issues that is widely reflected in Sanai‟s works, this paper seeks to study monotheism and monotheistic manifestations in the works of this precious poet. The findings show that, Sanai‟s views on God‟s actions sometimes come close to Ash‟arite. In some debates, such as monopoly of actions to God, Sanai approaches Ash‟ari, but by proposing the ideas of other sects, such as the Shiites, he intends to unite the Islamic sects.

During the Mashroteh era and thereafter, many poets in the land of Bakhtiari have participated in the field of poetry and literature, many of them have mastered Persian language and literature and they have written works in the Persian dialect and they have also presented the works in the Bakhtiari dialect. Meanwhile, a number of Bakhtiari poets have particularly devoted their poems to the Bakhtiari dialect. One of the most prominent forerunners of Bakhtiari poetry in this era is Molla Zolfali Bakhtiari, whose work marks the beginning of a major revolution in contemporary Bakhtiari dialectic poetry. Molla Zolfali Bakhtiari is one of the pioneers of Bakhtiari dialect poetry before DarabAfsar. His poems in the original words of Bakhtiari indicate he was proficient in the Bakhtiari dialect. Molla Zolfali has two important works and some scattered poems - "Mearajnameh" and "Hadith of Kasa" which show the poet's authority and ability in the Bakhtiari dialect. He has written "Mearajnameh" in ascension of Prophet Muhammad (PBUH) and in favor of Bakhtiari’s Lore people and "Hadith of Kasa" in praise and greatness of the Prophet's family and Imams. Considering Molla's important role in writing poetry (Bakhtiari) and showing his position in this field, this article introduces the poet and it deals with the poet's opinions and his major thoughts on poetry. This research is descriptive-analytical and it is based on library resources.

Nezzami's poetry language that is one of prominent Azarbaijani style, is quite objective and ironic and the artistic use of imagination is very evident. Although the story of Khosrow and Shirin in the sixth century is a well-known and familiar story to general and special, Nezami's art is apparent in the manner of expression, including description and image of beauties and scenes of nature. Among nezami's work About Khosrow and Shirin should say Addressing a lyric issue, such aristocratic and royal love, also Nezami's interest and his unique patience in the describing personalities such as Khosrow and Shirin and events surrounding them are the reasons that caused Khosrow and Shirin have special place in Persian literature and even in the Nezami's works has a rhetorical and literary position. The aim of this research is studying the image of lovers as well as appearance of nature and expressing Nezami's performance in imagery and fantasy of Persian lyric poem - Khosrow and Shirin -.The features of Nezami's images in Khosrow and Shirin include diversity and avoiding repetition, use of aristocratic elements, precision and elegance in image making, widespread use of colors, creativity, and initiatives.

Abdolhossein Vojdani,one of Iran's most prominent writers,views his contemporary political,cultural and social developments in his stories.In his works,it is easy to see the many manifestations of culture,identity, morality,peoples,religion,which is in line with the nature of the people of Iran.The story of"Khosrow The third story from the collection of the story of"Amugholam"is the only collection of the story of Vojdani.This story is narrated from the first person,but the character of the narrator is colored against the main character of the story,Khosrow.The narrator,who had also been in class at the elementary level with Khosrow,once sees him on the street;"The opium drink had made that fearless milk a terrible skeleton" Then he recounts his youthful memories And in the story of the story,it brings in the theme of this work,which is one of the socio-cultural problems of our time and the harmful and harmful effects of addiction And at the end,he recommends that the bad guy should be avoided.Since the story reflects important social issues in each period and time, this research has been analyzed and criticized by descriptive and content analysis methodology,"Khosrow's Story"by Abdolhossein Vojdani And by examining the social structure of this work, its linguistic features and delicacies,as well as the author's particular writings for his purpose.The results of the research show that Vojdani,using literary capacities and linguistic techniques such as simile, poetry, satire, slang expressions, has been able to accompany the reader of the story with him and the final message (the effect of a bad companion).

The poetry of the Islamic Revolution is a continuation of the previous Persian poetry and encompasses all the territories of the past, both in terms of themes and themes and in terms of form. The poetry of the Islamic Revolution has both an epic theme, a mystical, a romantic, a religious, a social and a political one; it is better to say that there are no divine, humane and universal themes that the poets of the revolution have not addressed. Romantic poetry is one of the branches of revolutionary poetry that has a remarkable presence in the poetry of this period.The romantic lyrical songs of the revolution, which are sung in all forms, especially the sonnets, are mainly of poetic dignity and decency, which in this respect are distinct from the pre-revolutionary lyrical poems. Since love and the expression of pure emotions and emotions in the form of the most beautiful descriptive sentences in the literature of the revolution is a part of the themes which we consider to be rich literature, In the present study, we have examined the richness of post-revolutionary literature by using descriptive and content analysis methods. Considering the morale of the people as well as the poets of the poets at this time, it can be said that rich literature, besides the mystical and epic themes, has a considerable part of the literature of this period.

allegorical Masnavi Nell and demans of the Tenth century story in India and the third system failed plan Faizi, Translation of the Mahabharata and the conquest of romance Nell and Demynty That in more than four thousand bits per object is written. This story is one of five treasure poet, written against military Leili and Majnun Therefore, doleful expression and tone mixed with pain and glory Lvd- in these ancient allegorical stories-the space it provides for uniform rules. Structuralist analysis of the system, the results obtained by the story about the owner of all the constituent parts of the story (such as plot, character, point of view, etc.) But the complexities and advances in technology have been writing in recent centuries, is inefficient and just all the basic elements of the story today. Since one of the elements of the story, its characters, in this study, it was on the main characters and secondary characters Nell and deman Allegorical poetry with Leili and Majnoon are compared and reconciled. One of the results of the implementation of the system is that the characters in the two main characters and characters Champions Nell and damans Allegorical poetry with Leili and Majnoon, static and have no mobility.

Adverb is one of the complicated and challenging issues of grammar. It is one of the most important discussions of language that hasn’t been known until now, and there is no accurate and comprehensive definition of it. Also definitions available aren’t complete and classified, and its dimensions weren’t studied by the most grammarians .
It wasn’t historically and evolutionally studied until now. Based on this, the purpose of present study is to investigate adverb differently, so that historically studied it and show its structural evolution inancient Persian, Middle Persian and Persian Dari using many examples.
The obtained results show that there is close relationship between Dari Persian and Middle Persian and this relationship result that most of Persian adverbs beevolutional forms of Pahlavi Persian (middle).