صلاح الدین عبدی

Deconstruction, one of the critical trends of postmodernism, was pioneered by Jacques Derrida a French-born Algerian critic. A reading strategy, not a literary method or theory, Deconstruction focuses on the reader rather than the text or the author. In this reading strategy, language is considered deceptive, unstable, ambiguous, and unreliable which is recreated by the reader. The most important terms in this strategy are writing, differance and deferral, proliferation, dispersion, and trace. This study analyzes one of Zakaria Tamer’s short stories entitled “Oh, the Forgotten Cherry” from the Damascus is Burnt collection to identify/address its deconstructive elements. The significance of this study which adopts a descriptive-analytical method lies in opening a new window toward the ubiquity of meaning in a literary text. This study addresses the differance in meaning due to the dispersal of textual elements. The dichotomy between innocence and greed is the most contradictory duality in the short story where the author deconstructs slavery.

Cognitive linguists do not negate the metaphorical creativity inherent in the works of poets and writers. According to the ‘Cognitive Poetics’ theory proposed by Lakoff and Turner (1989), poets and writers frequently employ the same conventional conceptual metaphors in their compositions that are prevalent in everyday language. The creative aspect of poetry emerges from the adept manipulation and modification of these commonplace conceptual metaphors, achieved through the application of four conceptual tools: expansion, complication, questioning, and combination. The primary objective of this research is to introduce these strategies and assess their applicability in conducting a cognitive analysis of certain novel metaphors found in two collections of short stories authored by Zakaria Tamer (1931), a distinguished contemporary Syrian writer. The analysis of the data indicates that Tamer has utilized the same everyday conceptual metaphors in his narratives. Consequently, the creativity exhibited by this author could potentially be attributed to the proficient application of the aforementioned tools in the usage of ordinary metaphors. Based on the data analysis, it is observed that Tamer, in the creation of the metaphors examined, has predominantly employed the tool of combination, sparingly used the tool of questioning, and has made moderate use of the tools of expansion and complication. The findings also suggest that Tamer, through his judicious use of metaphor, not only imparts elegance and beauty to his prose but also effectively communicates the underlying concepts and messages of his stories to the reader.

Religion plays an influential role in forming the structure of emotions and it intends to organize its entire structure. The intersection of religion and the cognitive structure of emotions is where discussions about moral values come into play. The existence of emotions is primarily perceived as involuntary and, with this description, it cannot be evaluated. However, the will of human is highlighted in the religion`s value system and the quality of emotional experience is somehow dependent on the will and possibility of choice, and thus it can be valued. This study aims to examine the relationship between the religious value pattern (the Quran) and the cognitive structure of emotions. The research method is descriptive-analytical and the analysis method is in the framework of cognitive theory. The analysis of data in various cases demonstrates a unilateral presentation of religious data in the conceptual structure of emotions regardless of time, place, culture, and individuality; the religious value pattern differs from the cognitive pattern of emotions, which typically includes cause, existence, control, loss of control, and reaction. The structure of religion tends to maintain its patterns in a transtemporal-spatial form. Emotions in the religious model are different from those in this world. According to the religious pattern, emotional concepts studied within established causes are attributed value; furthermore, the behavior and quality of emotional experience by religious individuals are somewhat predictable.

The present study surveys the concept of sadness in those parts of Persian and Arabic languages which have been conceived and expressed through the source domain of container in order to illustrate the way speakers of the above languages think in this domain, as well as the similarities and differences between them. Moreover, the study intends to reveal the order behind the discrete and seemingly irregular expressions of the sad person as a container and describe its cognitive system. The method employed in this research is analytical-semantic. Conducting comparative studies, understanding how common concepts are structured in the conceptual system of speakers of different languages, and identifying culture-based metaphors play an important role in the cognitive understanding of cultures. For instance, through the results of the present study, it can be stated that Arabic speakers consider sadness to be mainly something that blocks their throats (غص، شجا، جرض for example); i.e. the blockage is prominent while Persian speakers consider sadness to be mainly something edible (غم/ غصه خورد meaning He ate sadness/grief). That is to say, the difficulty of swallowing is not prominent in Persian and the problem is that this food has accumulated in the heart (stomach) and puts this organ under pressure (دلم ترکید meaning My heart exploded), or that this food has wounded the heart (خون دل می خورد meaning Eating sadness caused the heart to bleed).

A part of the conceptual structure of sadness is understood and expressed along with pain. The relationship between pain and part of the concept of sadness is quite close in a way that physiological correlation of these two is predictable. Pain is phenomenologically related to sadness in which, understanding and perception of its progress as an abstract experience through the experience of pain which is more physical. In the cognitive concept of “sadness is pain”, sadness should be sought in the framework of the sensory characteristics of pain. Pain expresses the feeling of a person when experiencing sadness, and it shows an unfavorable mental state with an unpleasant physical feeling. Sadness is a warning and a call from the damaged mind (soul) of a person. Pain is a warning issued from the body. Pain is naturally considered a negative experience; consequently, it creates a negative evaluation of sadness. The present study surveys the concept of sadness in that part of Persian and Arabic languages which is expressed by source domain related to pain, so that the way of thinking of the speakers of the mentioned languages in this domain, the understanding, and the similarities and differences between them are revealed. The method of conducting this research is descriptive and analytical, and the method of analysis is cognitive linguistics and conceptual metaphor. Regarding the pain perception of sadness, it can be said that the analysis of the data indicates a wide cognitive similarity between these two languages. It seems that Persian and Arabic people imagine themselves affected by different states of pain when they are sad; this means that they expose their bodies to insect bites, plant thorns, sharp tools, heat and burning, or pain caused by high pressure, etc. which seems that the source domain  related to tools and animals in Arabic show more diversity for the conceptualization of pain and the reason for that can be found in the environmental and geographical characteristics of Arabic people.

Narratology is based on analyzing the structures and describing the rules and features governing the narrative, and by analyzing the totality of the texts and their relationship with each other, it aims to achieve a grammar that can be used in all narrative texts. The element of character is one of the basic elements in fiction that reflects the author's worldview and thought. Structuralism is one of the schools that have addressed the subject of personality in a scientific and purposeful way. Some structuralists understand the importance of character in their actions, and some like Raymond Kenan place an individual value on character. The historical novel Al-Tanturiyah, by Razwa Ashour, a contemporary Egyptian writer, is considered a suitable option for narratology studies (personality analysis). The author has used two direct and indirect methods in dealing with the character. Although the direct method leads to simplicity and saving time, it takes away the possibility of reading and curiosity from the audience. For this purpose, the author has used the indirect method to strengthen the structure and convey the meaning better. In an indirect way, it introduces the character through action, naming, conversation, environment, analogy. This research, with descriptive-analytical method, examines the aspects of character representation in Al-Tanturiyeh's novel, so that by understanding and understanding those elements, the field for

One of the characteristics of the text is having coherence, Halidi and Hassan are among the theorists in this field of linguistics. According to them, the coherence of the text is caused by the factors that connect the components of the text and make it harmonious; These factors include grammatical, linking and lexical tools. In a descriptive-analytical way, this research has explained the factors of grammatical coherence in Surah Mubarakah Naba and its Persian translation by Hossein Ustad-Wali based on the coherence theory of Hollidi and Ruqiyeh Hassan. The tools that create grammatical coherence in Surah An-Nabaw in its selected translation include the elements of reference, deletion, and substitution. Among these elements, the reference element has the highest frequency in Surah An-Naba and also in the selected translation and has the greatest impact on the coherence of a part of Surah An-Naba and its translation.

The present study is classified in the field of cognitive linguistics studies. Cognitive linguistics is an approach to the study of language that investigates the relationship between language, the human mind, and human experience. In this study, we used cognitive metaphor, which is the advantage of cognitive studies, as an effective tool for linguistic data that contain fear. In cognitive metaphors, a part of the properties of a physical concept corresponds to a part of the properties of a more abstract concept, and thus provides the conditions for its understanding and expression. This study is important because it identifies a systematic system of broad and seemingly scattered expressions containing the concept of fear, and an attempt has been made to describe the discipline within expressions, in the form of cognitively related structures. In this study, our goal is to answer the following questions by cognitively examining the concept of fear:What are the most common source domain for understanding and expressing the concept of fear in Persian and Arabic languages?What are the Ressemblance and differences in the structure of the concept of fear between these two languages?What prototype and non- prototype patterns does the cognitive approach explain for the mentioned languages?

The aim of the research is to find out the degree of involvement of the eighth grade Arabic book published in 2019-2020 in order to analyze the content. This research uses William Romy’s method for content analysis. This is an applied study and descriptive based on the research design. The research uses a deductive approach. The statistical population of the eighth grade Arabic book is published in 2019-2020. The statistical sample was the same as the statistical population in terms of images and queries in the context of the book. It was divided into three parts, and twenty-five sentences were randomly selected from each part. Therefore, the field unit in this research was educational, and analysis units were text, questions and pictures, and registration unit was the number of categories, average, percentage. The findings showed that the content of the eighth Arabic book is presented in an inactive text and the images section in the active exercises section. In the field of text and images, the students’ engagement coefficient was equal to 2%. It is also shown that the content is inactive in text and images section, but the context of the questions is the students’ engagement coefficient equal to 0.58, which indicates that the exercises in this book are active. Therefore, this book is not satisfying in the text and images section, but satisfies learners in the exercises section.

An important factor that can influence the lives of children and teenagers - is literature. This has been reflected in a considerable and valuable bulk of research. Mahmoud Shoukair is a famous Palestinian writer and a pioneer in the field of children's literature. He was born in Jerusalem in 1941 AD. After primary and secondary education, he went up for a bachelor’s degree in philosophy and social sciences from a Syrian university. Choukair has literary and artistic skills in many areas such as novels, short stories, anecdotes, movie–scenarios, travelogues and stories, as well as children and adolescents’ literature. His writing job began in 1962 began with a number of magazines such as Alafaq el-Jadid – which published his works in the field of children and adolescents’ literature.Style: Chambers looked at a wide genre, beyond the usual boundaries of words and sentence structure and has his own stylistic features and the use of language. The author and reader can elicit their own information because the text conveys any desired meaning. Point of view: A way of attracting the audience’s attention and setting up communication between the reader and the text is to select a proper point of view. In children’s literature, this feature can establish a better relationship between the author and the audience. A certain point of view passing everything through the filter of perspectives and thus more audience's sympathy can be gained with the work.Advocacy: One of the common beliefs in the childishness of any work is that the child is the central character of the story or that the child is at the center of the story. According to Chambers, the principle and element that can help to communicate with a low-age audience and draw him into the text is the principle of companionship and empathy with the child and support him. According to this theory, however, the author does not need to support exaggerations of the latent reader, or to show himself openly in favor of the child, or to go so far as to place the child in front of the adults.Another method –to affect the audience is to stimulate his thoughts and imagination. This helps to fill the gaps in the text of the story. So there is no problem to sometimes use blanks and dotsin the text. According to Chambers, a skilled author can leave certain points to be guessed or imagined by the reader, which is gives the audience a chance of participation in the story.
In this study, we try to analyze the stories of Mahmoud Choukair "from the perspective of Aidan Chambers’ theory and and answer the following questions:
Which-of the four tenets of Chambers’s theory is involved more?
What is the point of view of the story according to the theory of Chambers?
How are the wordsstructured in the storyof Mahmoud Choukair for children?
What isthe author's view of the world of children and adolescents?

This study is based on the descriptive - analytical method and the theory - of Aidan Chambers. The data have been collected through valid library websites.

The ups and downs of the story are very attractive, and the ambiguities in it are solved reasonably.  The story of Anna and Jamana has a coherent and orderly evolutionary course, and the events are tied to the main character of the story. The characters Anna and Joumana –are the most important elements of the story. Its features, positive and beautiful ethics and values are powerful and influential in the society, and the vocals are impressive. The language of the author in this story is far from any otnament, ambiguity and complexity. Simple, fluent, pleasant, understandable, concise and useful sentences and words have been selected. Pictures in the heart of the story are flexible. Angle viewing is associated with a childlike look, and theories postulate a child in the world inside and outside the ruling. The use of angle as a childish vision sets the stage for more reading, which provides a connection with the text. Joumana element in the story of Anna and advocacy is bold and well expresses the author's curiosity and mischief and shows the active participation of the reader. The main feature of this element isthe protagonist's imaginary world view .The story of Anna and Joumana is in the context of adventures. There is decentralization and ambiguity in most of the storytelling techniques of this story.

a. The fans in the story have sympathy with children and young people.Although the stores have been written for children, it involves the participation of adults as well.Mahmoud Choukair uses simple and understandable terms appropriate to the children's level of knowledge.
Theauthor of the story elaborately depicts kids’ world view.

Political violence means the exercise of will and power in the pursuit of unlawful purposes, and since the literature is a mirror reflecting the entire society, it depicts the history of nations and historical realities of societies in a literary expression to show the relationship of literature with politics. Among literary works, stands the novel of Layali Turkistan by Naguib Kilani (an Egyptian Muslim writer), wherein he addresses the Muslims' problems beyond the boundaries of the Arab world, i.e. in Turkistan or Xinjiang, and he tries to expose the political violence and other concepts like assassination, execution, and torture to other Muslims. Using the descriptive-analytic method, this paper tries to illustrate these political and sociological concepts in the novel and to explain political violence and other related concepts. The most important results indicate that these concepts include: occupation of a land, suppression of religious feelings, conversion of mosques into debauchery places, and the change of topographic and ethnographic pattern of country.

Happiness includes a range of soft and intense emotions and enjoying a subject up to happy feeling in life. Forasmuch as a part of happiness concept is structured by language data in addition to literatures, art, custom, etc., we use cognitive metaphor as an effective tool for analyzing language which is one of mind aspects. Cognitive metaphor is attributed to understanding and expression of an abstractive concept based on a more physical concept. In this research, we study data according to Kovecses cognitive theory and intend to find the way of speakers thinking about happiness, understanding and their similarities and differences in the mentioned languages. Importance of cognitive study of this data is that it systematizes their different and scattered range according to names mapping and also accurate cognitive pattern. Data of this research show that derivative feature of Arabic language provides a wide vocabulary variety for happiness conceptualization in this language as if some metaphors of Persian language compared with Arabic samples have more distance with general metaphors and bears further and complicated special cultural features. Also in connection with the metaphor of "happiness is up", "distance from the earth" in Arabic can be more prominent than in Persian.

The present study employs Kövecses’ cognitive theory to investigate the cognitive metaphor ‘ANGER IS HEAT’ in Persian and Arabic languages. The comparative study of cognitive phrases of this conceptual metaphor based on Krezeszowski’ model indicates how speakers of these two languages organize . This research was inspired by the fact that the study of conceptual metaphors in cultural and intercultural fields enables the cognitive investigation of cultures and casts light on the nature of similarities and differences between them. The study of some of the most common cognitive phrases indicates that many aspects of these metaphors are similar while some other are different. The similarities between them normally originate from the similar perception of human body based on common physiological experiences as well as similar physical cultures. The differences between them result from differences in contexts, conceptualization with different origins, grammatical types of these languages, and metaphorical extensions.

Cultures of different nations were always interested in powerful forces and global governors so that they are always in thought of destroying the cultures and religious beliefs of other countries, by the way fundamental performance of imposing culture and the main task of thought colonialism is it that dominated people and nations give up their own characters and transferred to run-off mass in favor of colonial and imperial countries, so cultural attacks, namely enemy, imposes the thoughtful, religious and moral assaults to a nation in order to disparate beliefs, religion and morality of same society suddenly or to prevent from required effectiveness. To know the cultural attacks and the representation methods, also its relation and affection in literature need to special practices. Two authors in field of both Persian and Arabic literatures are Jalal Al-e-Ahmad and Abdol Alrahman Hassan Habanakeh Almeydani. The present contrastive study will be showed the motivations of these authors have been surveyed in order to turn to features of cultural attacks within two books "to be in service and betray of intellectuals" by Jalal Al-e-Ahmad and "The Prestige of Third Craft" by Abdol Alrahman Hassan Habanakeh Almeydani. Of the most important concepts of cultural assaults within two books are universities and schools, national and religious identification, partition, promoting the luxurious culture, language and press. Contrary to very similarities between their performances, there are some differences among them considerably. The method of this study is description-analyses based on American Contrastive schools

The Imagology (Fr. Imagologie) is one of the new important branches of the Comparative literature or Comparative criticism in French school that deals with the image of "I" and "Other" in literary texts. The image of "Other" is like a mirror that on the one hand, I sees in it his/her view, and on the other hand the "Other" can see I's viewpoint of his/her view in it. Don Giovanni is a Spanish legendary character who is famous as a philander or gallant or flirt-man. The same character is European cultures. This character is fond of relations to many women and is continuously in search of new cases and leave the old ones. Samīh al-Qāsim and Abullah Pashew, two great poets of the Resistance literature in Arabic and Kurdish literature, has each one an ode for Don Giovanni in order to use it to enrich their resistance literature through its image reflection and to create more fruitful poetic concepts. This essay in the light of comparative literature and by use of descriptive-analytic approach tries to disclose the Arab and kurd "I" outlook in  imaging "Spanish mythical other" and employing it in their poems. Samih al-Qāsim's imaging of Don Giovanni is tolerant and compromising, but Abullah Pashew's is in the beginning tolerance and then changes to negative and ugly one. I in these two odes are of the real kind (human being) and "other" is of the mythical type.

The phenomenon of deconstruction emerged in the late sixties of the twentieth century from the point of view of structuralism. Associated with breach of the metaphysics of presence, deconstructing criticism was raised by Jacques Derrida, within which the verbal/parole aspects of the texts are violated. The purpose of this comprehensive outlook is to delve into the hidden meanings of the text and its metaphysical dimensions. Dimashq al-Ḥarāʼiq was written byZakaria Tamer, a well-known short story writer in the Arab world. This article deals with the collection of two short stories, "Mot al-Sha'r al-Asvad" and "vajh al-ghamar" by analyzing the text using the deconstruction approach. The research method is descriptive-analytic. After the text analysis, it emerges that the main contradictions in the stories are hope / despair, dignity / inferiority and captivity / freedom. By analyzing these contradictions and deconstructing them, it is concluded that the existence of contradictory inversion in the stories is due to the disapproval of the higher classes by the oppressed lower class, which is attributed to the lack of knowledge or the lack of power for confrontation.

Narratology is based on narration with structural analysis and description of the rules and by analyzing the totality of texts and divide it into smaller units; they are going to achieve narrative grammar. This scope of human knowledge has advanced to the extent that nowadays it is studied as a scientific branch. This research focuses on analyzing speech and thought presentation in the story by means of stylistic approach proposed by Leech and Short. They are known to have five levels of discourse: 1- Indirect Speech/Indirect thought. 2-Indirect Speech/Indirect thought. 3- Free Indirect Speech/Free Indirect Thought. 4- Direct Speech/Direct Thought. 5-Free Direct Speech/Free Direct Thought.
 The method of this study is descriptive-analytic with narrative cognitive approach. Tantura novel by Radwa Ashour, due to the complexity and specific narrative techniques is the suitable option for studies of narration's tense. The research findings show: the Egyptian author, Radwa Ashoura, has tried to present the whole story from the point of view of the protagonist. The novel uses a variety of direct, indirect, free and indirect free speech and narrative reporting to express the belief in resistance and instill a Palestinian sense of war.

Review of Literature:

A dialogue is a literary technique in which writers employ two or more characters to be engaged in conversation with one another. In literature, it is a conversational passage, or a spoken or written exchange of conversation in a group, or between two persons directed towards a particular subject. Generally, it makes a literary work enjoyable and lively.
Leech and Short (1981) have classified speech and thought presentation in fiction into five categories. They are:
1-The Narrative Report of Speech Act (NRSA): It is more indirect than indirect speech. Here the narrator does not reproduce the actual words uttered by the person, whose speech is being reported. When a writer reports the speech made by a person without actually quoting the words uttered by him, we see the event entirely from the writer’s perspective (Jayal, 2013)
2 Indirect Speech/Indirect thought: Indirect Speech (IS): The words of the speaker are reproduced in the third person with a reporting verb and the speech is presented from the point of view of the narrator. (Leech, G., and M. Short. 1981).
3 Free Indirect Speech/Free Indirect Thought: free Indirect Speech (FIS): It occupies a place between DS and IS. In FIS, the reporting verb is omitted but the function of the ‘tense’ is similar to that of its function in IS. FIS is neither a verbatim reproduction of the original speech nor is it a mere indirect rendering of the original. Leech and Short (1981) remark that FIS involves some kind of a distancing effect in the sense that due to the intervention of the authorial voice between the reader and the words of the character the reader is distanced from the character’s words. (Jayal, 2013)
Direct Speech/Direct Thought: Direct Speech (DS): The words uttered by the speaker are quoted within inverted commas. A narrator uses the direct speech to report verbatim what a character said in a particular context. (Todorov, 2003)
Free Direct Speech/Free Direct Thought: free Direct Speech (FDS): In DS, the narrator reports what the character uttered in a particular context. But in Free Direct Speech (FDS) the character speak directly without the intermediacy of the narrator, and, consequently the reporting clause is omitted in the presentation of such a speech. (Jayal, 2013)

The present study by using the descriptive-analytical method within the Speech and Thought Representation Theory, seeks to answer the following questions: What concepts constitute the speech acts present in these novel? In which of these writer speech acts, details are of more importance?

Narrative dialogues refer to all the conversations in a narrative text cited by the narrator. These dialogues are altered by the narrator in different ways. Representing the narrative conversations can be revealing in reviewing a story especially in narrative discourse analysis through which one can gain more awareness of narrative methods, writers’ style and the relationship between the narrator and character. Character. (Jayal, 2013( This research focuses on analyzing speech and thought presentation in the story by means of stylistic approach proposed by Leech and Short (2007)  In speech presentation, there are five techniques as proposed by Leech & Short: Direct Speech (DS), Indirect Speech (IS), Free Direct Speech (FDS), Free Indirect Speech (FIS), and The Narrative Report of Speech Act (NRSA). Below are the examples of speech presentation taken from Leech & Short (1981, pp.255-256-.
 The author, Radwa Ashour, used these techniques in an artistic way in her novel Al-Tantoryeh to convey the current reality in her occupied country in all its details. The narrator chose the direct and free direct of the subject to the audience so that the reader can see a clear statement of their living conditions under the Intifada.

The author, Radwa Ashoura, has tried to present the whole story from the point of view of the protagonist. It helped the author to gain sympathy and concern for the protagonist and to bring the theme properly before the audiences
The novel uses a variety of direct, indirect, free and indirect free speech and narrative reporting to express the belief in resistance and instill a Palestinian sense of war, and the author used direct speech to convey his literary experience.
Using thought presentation shows that author has given importance to the inner thought process of the characters. To bring out the theme of the story, it was crucial for the author to make proper use of the thought presentation. With the proper use of speech and thought presentation, Radwa Ashoura was able to present the theme of the story successfully in front of the audiences and was able to gain sympathy and concern for his character.

The analysis and examination of the function of narrator in a literary text plays an important role in reading it from a new point of view.Gerard Genette, the French narrative structuralist, has theorized the role and function of narrator(s) in literary texts. RadwaAshour’s historical novel,Al-Tantouria(2010) in which the author utilizes different narrative techniques, is a good case study from a Genettian point of view. In the novel, the author utilizes different intradiegetic narrativeforms: observer narrator, I-as-protagonist, I–as-witness, and second-person narrator. In the novel, due to the first-person narrator lack of knowledge, the author takes advantage of the observer narrator to fill the mentioned gap. Thenovel, due to its temporal fragmentation in describing events as well as the limited first-person narrator,has been studied from a variety of narrative point of views. In the course of the novel, I–as-witnessand second-person narrators narrate events and actions from their point view as the author-narrator narrates the story in the absence of the protagonist. In the novel, monologues are addressed to intradiegetic audience, and therefore are dramatized. Drawing on Genette’s narratology theory and adopting a descriptive-analytical method,this article examines different dimensions of the narrative in Al-Tantouria as well as their role in the production of meaning. The analysis and examination of the function of narrator in a literary text plays an important role in reading it from a new point of view.Gerard Genette, the French narrative structuralist, has theorized the role and function of narrator(s) in literary texts. RadwaAshour’s historical novel,Al-Tantouria(2010) in which the author utilizes different narrative techniques, is a good case study from a Genettian point of view. In the novel, the author utilizes different intradiegetic narrativeforms: observer narrator, I-as-protagonist, I–as-witness, and second-person narrator. In the novel, due to the first-person narrator lack of knowledge, the author takes advantage of the observer narrator to fill the mentioned gap. Thenovel, due to its temporal fragmentation in describing events as well as the limited first-person narrator,has been studied from a variety of narrative point of views. In the course of the novel, I–as-witnessand second-person narrators narrate events and actions from their point view as the author-narrator narrates the story in the absence of the protagonist. In the novel, monologues are addressed to intradiegetic audience, and therefore are dramatized. Drawing on Genette’s narratology theory and adopting a descriptive-analytical method,this article examines different dimensions of the narrative in Al-Tantouria as well as their role in the production of meaning.

Tanāwub and syntactic taḍmīn are regarded as two norm-evading terms in the standard language syntactic. Tanāwub means a word leaving its main meaning for another meaning, but syntactic taḍmīn means a single verb intermixing two meanings in itself; one meaning is obtained through wording and the other through the evidences existing in the sentence and its main benefit is brevity in wording and inclusiveness in meaning. Among various translation methods, the semantic translation is the most suitable method for translating such terms. Using a descriptive-analytical method, this research is intended to examine the exact meaning of tanāwub and syntactic taḍmīnand the relevant problems as well as studying them in the most eminent contemporary translations and the requisites of their translation in the Holy Qur’an. Surveys show that in most cases no accurate equivalent mentioning all semantic components has been designated for the term mutināwib (alternative) in the Persian translations.

The time is the main element in changing an incident to a story. So, one of the important problems in structuralist theories is the situation of time in narration. This problem has a long history among thinkers and theorists. Time is a significant component in two stories of Azādārān-e Bayal (Mourners of Bayal) and Ibn al-Faqīr (the poor man's son), and its importance becomes more clear by exploring and examining this element in these two stories. The most complete theory about the element of time in the story is Gerard Genette's theory. For Genette, the formation of time depends on three temporal components: order; duration; and frequency. In the present study only the second component, i.e., the duration, in the two stories of Azādārān-e Bayal and Ibn al-Faqīr is examined. The results of the study show that Azādārān-e Bayal has steady speed of time in narration of the story, whereas the narration of the story in Ibn al-Faqīr is slow with a negative acceleration, and the writer rather used a descriptive delay category. The research method of the article is analytic-descriptive and is based on the American comparative school.

Deviation is one of the common terms in stylistics created as a result of leaving the normal form of language.This phenomenon occursin different layers of language including "phonetics", "syntax", "lexical" and "semantics".The present paper, however, solely examined syntactic deviation, which means leaving the syntactic rules of the standard language. Since "alternation", "tazmin" and "iltifāt" frequently appear in Surah At-Tawba, and contribute to the "literariness" of a literary work, the present descriptive-analytical paper thus triedto examine these three devices. This paper mainly aimedto articulate the aesthetics and objectives of these deviating devices. Findings suggests that syntactic tazmin is more frequent than alternation and iltifāt and its aesthetics, in addition toavoiding repetition, is briefnessof style and inclusiveness of meaning. Furthermore, three types of iltifāt (mo'jami=dictionary meaning, pronouns, and numbers) have been used in this surah, serving intentions such as emphasis, repetition-avoiding, and catching the audience's interest.

A person or character to whom a narrative is addressed is called narratee. The narratee of a story can have a key role in molding the narrative structure of a story, and the sequence of events in it. The narratee also manages the ways audiences/readers are going to be affected by a particular story. Radwa Ashour’s Al-Tantouria is a contemporary Egyptian literary work which has unique narratological features. The narrative structure of the novel has multiple narrators, narratees and narratological focal points. Both the main narrator and narratee of the novel are internal. Having the internal nature of the narratee emphasized, one should keep in mind that readers will always be the inevitable external narratees of any narrative. One of the most important narratees of the novel is Hassan, who is one of the key characters of the novel. He offered his mother – the key narrator of the novel – to start narrating her story about Egyptian bravery, valor and national values. In doing this, the mother as the frame narrator of the novel considers Hassan to be her immediate narratee to whom she is narrating the story. It should be mentioned that the world views of both the narrator and the narratee of the novel are similar to each other. They are similar to the extent that at times the narratological positions of the mother and Hasaan as the key framework narrator and the internal narratee can be interchanged. Without Hssan - as the key narratee of the novel - one can claim that Al- T a ntou ria could not have been weaved in the Egyptian literary realm. Considering all the aforementioned facts, this descriptiveanalytical research examines the characteristics of the narrators and narratees of Ashour’s Al- T a ntou r ia . The study believes that such narratological analysis of the story can facilitate one’s understanding of the novel’s semantic rapports.

An analysis of a novel is one of the ways that enables the reader to understand the content of a story in a full scale way. Generally, in each analysis, principles and frameworks are presented that relate to the mind and sense of the speakerThe research method is to identify of five pieces at different intervals from beginning to the end of the story and each piece is analyzed in five steps according to what is presented in John Pack's style. Then, in the sixth and seventh stages of different aspects of the text, author, reader and the world as well as the views of other critics are examined. So after selecting of specific parts and then analyzing them, It is concluded that in John Peck's way, due to understand of general aspects of the story through the details of the text, it is inductively analyzed, then the whole story is examined. In this type of analysis, befor analyzing overall into story, pay attention to the delicacies and details within the story, so the art of the author and the better result are revealed. Another feature of this approach is to pay attention to the contradictions in the selected passages which besides examining of the quadratic dimensions of the text and the opinions of other critics, are the final complement to criticism and analysis

This article is investigated and analyzed one of the deviation linguistic phenomena in the Quran, Means " phenomenon of alternation " from the perspective of stylistics and has stated the effect of linguistic context and position in the diagnosis and interpretation of the phenomenon of alternation, through the expression of deep cycle types and meanings associated with it.Therefore, the main purpose of this article is to analyze the emergence of the phenomenon of alternation and its variants and thus discover the hidden meanings that can be reached with the help of contexts. In this way, select holy surat AL-Anaam and after we consider its verses as well as several reading about it has become clear to us that the phenomenon of alternation high frequency alternation in the surat, so that the its high frequency in the surat and its escape of the rules of syntax and rhetoric Has made this phenomenon has become a way of style in Surat, So that The result of comparisons show that the alternation in verbs especially the verbs that placed within meaning other verbs the highest frequency is the frequency in comparison with other types of alternation and also became clear that the linguistic context, which in this article through the words of former and late effects has contributed to the emergence of the phenomenon of alternation, and situational context helps us why is the word come rather than the word.