جستجوی مقالات مرتبط با کلیدواژه « dialogue » در نشریات گروه « علوم انسانی »

This article explores the intertextual relationship between François Rabelais and Miguel de Cervantes, focusing on shared themes, narrative techniques, and literary influences. Drawing upon Mikhail Bakhtin's concepts of the carnivalesque and dialogism, the study examines how these authors challenge established norms and engage in a dialogic relationship with each other. Analyzing the satirical treatment of societal, religious, and political institutions, the research identifies common themes such as social hierarchy, human folly, and the grotesque in their narratives. By comparing their narrative techniques- including humor, parody, irony, and the use of a picaresque style with episodic storytelling- the article reveals their shared commitment to challenging traditional narrative structures. Additionally, the study explores potential literary influences and intertextuality, examining references, allusions, and echoes of each author's works in the other. Through this comparative analysis, the article underscores the significance of the intertextual relationship, enriching our understanding of Rabelais and Cervantes and their contributions to world literature. By summarizing shared themes, narrative techniques, and literary influences, the research highlights the enduring relevance of these authors and their ability to inspire critical reflection. This examination of intertextuality deepens our comprehension of their narratives and emphasizes the evolution of literary traditions.

 Dialogue, a French word derived from Greek meaning dialogue, is the words that are exchanged between the characters of a play. Dialogue is the most important part of a show and the characters of any drama are developed and developed through this technique. Read any literary work as a dialogue between two or more characters.

 In this research, by referring to library sources and using a descriptive-analytical method, an attempt is made to investigate and analyze the tragic and dramatic aspects of Khosrow"s debate with Farhad in Khosrow and Shirin Nizami in its traditional form and centered on dialogue.

 Debate writing literary type is one of the formats and methods of Persian poetry and prose, which debate poets and writers generally use this literary form in different forms such as traditional (dialogue between individuals) and new (monologue) to express themselves. They use various examples such as advice, wisdom, ethics, feelings and social issues. Debate is often created by using question and answer tools, and each questioner or answerer in their desired position should get out of the dilemma of the debate with the rules of debates. Khosrow"s debate with Farhad is one of the most famous debates in Persian literature, in which Nizami has been able to show in the best possible way the conflicts between representatives of the two rich and poor classes of his time, "Khosrow and Farhad".

 The heterogeneity of the position of the parties in the debate makes the issue of conflict and duality more prominent in the existence of the figures of the narrative and causes this debate to end tragically and unfairly; Because the two sides of the debate present their dialogues from two different positions.

Kowlivaareh is a collection of sixteen modern sonnets written by Simin Behbahaani, published in "Dasht Arjan" in 1362. While reading, the readers confront with a series of narratives by the main structure of dialogue; Therefore, the authors of this article have investigated and analyzed the conversational language of this collection. It's required to mention that the investigation and analysis of the conversational language in the narration is based on the theories of the structuralists, in which the linguistic elements involved in the conversation such as words, compounds, pronouns, tone, propositions Dialogue, literary elements in dialogue relations and the function of dialogue are examined and analyzed. In this article, the linguistic structure of Simin Behbahaani's Kowlivaarehaa has been investigated and the authors have found new and considerable results regarding the innovations of this great contemporary poet in modern sonnets. The function of dialogue in Simin Behbahaani's Kowlivaarehaa is carried out in the form of "reflection of the poet's inner states, description of the current situation and the demand for the desired situation" and the poet in these sixteen narratives, the Kowli - who is a symbol of she, herself and every free woman and man she calls for trying to build a better society.

The purpose of this study is to examine the discourse styles in historical-religious TV series by Davoud Mirbagheri. Specifically, it investigates the characteristics, strengths, and weaknesses of dialogues and monologues in these works. The research employs a descriptive-analytical method, focusing on four prominent series: “Imam Ali,” “Masafir-e Rey,” “Lost Innocence,” and “Mokhtarnameh.” These series are analyzed in terms of historical illusion, adherence to accuracy, and audience adaptation. Additionally, the study draws upon library-based information gathering.

Regarding historical illusion, Mirbagheri’s selected works exhibit features such as the use of historical vocabulary, stylistic elements, and language conventions. Notably, they omit the accusative marker and employ eloquent sentences and verbal arrays. In terms of adherence to accuracy, the series demonstrate three characteristics: the use of fabricated terms and structures, occasional word misuse, and the incorporation of foreign words. Furthermore, the adaptation of discourse for television audiences is achieved through two approaches: employing Iranian proverbs and Persian poetry, as well as using colloquial expressions and vernacular literature.

The author strives to strike a balance between historical and colloquial language by simultaneously utilizing idiomatic expressions, vernacular terms, and archaic styles. This approach enriches the discourse in Mirbagheri’s TV series, catering to both historical authenticity and audience engagement.

The main problem of this research is to identify and review the approaches of studying and dealing with religions in contemporary Iran, so that while studying them descriptively, their coordinates and characteristics can be analyzed to gain more self-awareness in the field of religious studies. The findings of this research show that the three approaches of traditional, intellectual and comparative theological research have three models of the saved sect, the Coffee-House of Surat, and the comparative model, which share components such as attention to the religious other, the principle of dialogue, and unity between religions, but in the origin, the necessities Culture and conversation style are different from each other. The saved sect model with the dominant policy of differentiation and the Coffee-House of Surat model with the dominant policy of similarity are different from the comparative model that emphasizes the parallel integration of similarity and differentiation. The conditions of cultural-religious pluralism in the contemporary world, along with human truth-seeking among various religious options, have highlighted the necessity of systematic comparative theology research. These researches, although they have been enriched by Max Müller's new researches in the modern world, show their descent to the works of Abu Rayhan Biruni and Shahristan in Islamic culture.

The foundation of labor organizations can be considered affected by events such as world wars and the emergence of the industrial revolution in the world. These social institutions have the ability to bring about the improvement of fair working conditions and the realization of wage justice in all dimensions by conducting collective discussions in line with the interests of the members. Therefore, in this article, the goal is to answer the question by collecting information in a descriptive and analytical way, "What is the status of the right to negotiate and dialogue of labor organizations in the international system and the subject rights of Iran?". In this regard, by examining the course of developments and its compliance with international standards; Internal examples in Iran's legal system were evaluated; the findings showed that collective discussions to solve the problems of the work environment; It is the easiest and cheapest way to resolve the dispute; However, despite the binding documents and the emphasis of human rights assemblies; So far, Iran has not acceded to fundamental conventions such as No. 98 and 87 of the World Labor Organization; The evidence indicates that the non-accession was not a negation of the countries' obligations; However, the existence of numerous conflicts in Iran's legal system, especially the Islamic Labor Councils Law and Chapters 6 and 7 of the Labor Law, as well as improper government interventions, are due to the lack of creating fair legal structures in accordance with international guidelines.

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.

The family as the most significant and fundamental social institution exerts direct and profound influences on other societal institutions. It assumes distinct roles and functions and addresses a range of human needs. Central to family life and functioning are the relationships among family members. Communication serves as the foundation through which families define themselves and members acquire the skills to navigate shared meanings (Miller, 2017). Consequently, communication and interactions between family members emerge as crucial characteristics within any family unit. When communication is positive and effective, it ensures the overall well-being of the family and, in turn, contributes to the health of society as a whole. Effective communication skills encompass both verbal and nonverbal elements with effective verbal and conversational skills occupying a significant role in marital communication. Furthermore, communication within the family, like any other form of dialogue, is influenced by cultural and social contexts. Dialogue, in fact, not only stems from an individual's background and social network, but also shapes the formation of future relationships and interactions. As per Michel's definition, a social network comprises unique connections among a specific group of individuals. These connections collectively provide insights into the social behavior exhibited by the individuals involved (Mitchel, 1999). Therefore, recognizing the pivotal role played by tradition, culture, and social backgrounds in fostering interactions and dialogues between couples, this research aimed to comprehend the process of dialogue formation within the context of couples' social relations.

This research aimed to elucidate the process of dialogue formation within the context of social relations. An interpretive paradigm and qualitative methodology were employed. Specifically, a grounded theory approach utilizing Strauss and Corbin's objectivist perspective was adopted as the primary methodological framework. The sample selection followed a purposive and theoretical sampling technique with the goal of achieving data saturation. A total of 31 couples from normal families in Yazd were chosen as participants. In-depth interviews served as the primary method of data collection. With participants' consent, the interviews were recorded and each session lasted between 70 and 180 minutes. The data analysis utilized the theoretical coding method, which facilitated the development of the grounded theory. All recorded interviews were transcribed into text and the analysis process occurred concurrently with data collection. Following Strauss and Corbin’s method, line-by-line analysis was conducted for open-coding, leading to the development of concepts and categories and construction of the grounded theory's foundation. Ultimately, a research paradigm model was formulated. To ensure the validity of the findings, measures, such as prolonged engagement, peer review, negative case analysis, member checking, and detailed description were employed.

This study aimed to elucidate the role of the social network in shaping and influencing dialogue within Yazdi families. The collected data were subjected to open, axial, and selective coding, resulting in the identification of 22 main categories and 63 secondary categories. These categories collectively contributed to the core category of "dialogue emerging from the social network". The research presented a paradigm model and theoretical framework based on these findings.The overall analysis of the results demonstrated that dialogue was a product of the social relationships that the couples had experienced across various domains, spanning from the past to the present. The sociocultural context, particularly within the family, held the greatest influence on the individuals by establishing either a democratic or authoritarian environment. Additionally, friendship groups, educational and occupational systems, and the living environment all played significant roles in shaping interactions and dialogue within the family.When confronted with the impact of this social network, the individuals tended to react in two distinct ways. Some individuals accepted these influences without critical evaluation, implementing them within their family dynamics. However, this approach often led to dissatisfaction within the contemporary family structure due to the changing dynamics of today's society. On the other hand, certain individuals equipped with an awareness of various factors, social changes, and established principles for building relationships engaged in a thoughtful reconsideration of the effects of their past experiences within the family and different social environments. These individuals actively strived to enhance interactions within their current family and effectively managed their familial relationships.

In an era when both Arabic and non-Arabic literature lacked narratives in their modern sense, the Holy Quran suddenly introduced stories in a novel format and structure. The narratives in the Quran are highly vivid and tangible, and one of the most important and imagery-evoking narrative elements in Quranic stories is the dialogue and character elements. These elements play a significant role in depicting the events of the story, as the narrative cannot be imagined without characters, and characters cannot be fully understood without dialogue. Throughout history, there has always been interaction between prophets and disbelievers, and their discourse with ordinary people has never been devoid of these elements. Therefore, in this article, the author endeavors to examine the two elements of dialogue and character in the story of Prophet Moses using a descriptive-analytical method and elucidate its aesthetic dimensions. The findings of such research reveal that one of the manifestations of the miraculous nature of the Holy Quran stems from the unity and coherence among its verses, and this harmony among various narrative elements is clearly observable. This unity is aimed at achieving religious objectives throughout the Quranic stories, so much so that all elements together form a cohesive and harmonious structure

In this article, we try to analyze and evaluate the role of dialogue in intercultural communication and its consequences on identity formation. By showing the current global situation and the intermingling of cultures, races, ethnic groups, etc. we have addressed the issue that any intercultural communication based on the acceptance and understanding of others and differences, necessarily requires a conversation with another. On the other hand, the approaches of multiculturalism and interculturalism as two main perspectives in today's globalization and the mixing of cultures have been taken into consideration.In the meantime by using the views of the two main theorists of this field, Buber and Bakhtin, we have shown that dialogue is the essence and nature of any communication between people, cultures and different groups, and such a situation requires  a deeper understanding of the other and its place in the formation of one's own identity and essence. We also show that identities are always a relational thing and are in our relationship with others. The relationship with the other is only in dialogue, which leads to the acceptance of difference from a hostile state. But what is important is the articulation of such a dialogue in a global context where contradictions may replace differences. Therefore, in addition to detailing the conversation, it should be possible to present a new configuration of my position and at the same time of another, through which the conversation becomes possible. This article evaluates the different forms of such articulation and tries to explain the construction of identity based on such a situation.

The miracle of the Quran is one of the oldest and most frequent issues in Quranic and theological studies. In the meantime, the morphology of Ejaz has received more attention than other dimensions and its understanding is mostly limited to a specific elite audience. This research aims to analyze the qualitative content of a collection of verses containing a dialogue between two opposing and agreeing points of view about the verses of the Qur'an, with a new approach to analyze the quality of the understanding of the miracles of the Qur'an for the general audience. The findings of the research show that the Qur'an relies on the dialogue style in expressing the issue of the verses of the Qur'an and special implications in this context. "Guidance" is the most central feature of this miracle. The specific guidance of the Qur'an is not mere knowledge that is separated from faith and belief, but it is a kind of inner arousal that makes a person believe and yearn for a truth; The nature of this guidance is such that its realization requires and is accompanied by the understanding of the verses of the Qur'an. The verses (miracles) of the Holy Qur'an can be formulated as "repulsive miracles" and "gradual miracles". The manifestation of the repulsive miracle of the Qur'an is in the "lint of the heart" and this phenomenon occurs in the "individual field" and the manifestation of the gradual miracle is in the "distraction of hearts" and this phenomenon occurs during a certain process in the "social field" which can be transformed into a social manifestation. He explained the miracles of the Qur'an. The main factor in this event is emphasizing the "linguistic identity" of the Qur'an through "recitation and listening". "Dialogue with the Qur'an" is a skill that, using it in the right situation, can be an effective method in the appearance of the repulsive miracle of the Qur'an to the general audience and the foundation of its gradual miracle.

In recent decades, interreligious dialogues have become a focus for intellectual exchanges between religious leaders and many thinkers have addressed this issue. This article aims to examine the place of inter-disciplinary dialogue from the point of view of prominent thinkers such as John Hick, Raimon Panikkar, Leonard Swidler, Hans Küng, and Mohammed Abu-Nimer, based on the intellectual framework and approach they adopted in their scientific path. The analyzis showed that John Hick believes that the realization of interreligious dialogue is based on the two principles of accepting religious pluralism and the golden rule in ethics. Panikkar does not believe in suspension but in confronting the religious other based on a system and an approach free from the epoch that Husserl puts forward. By emphasizing an epistemological point of view, Swidler connects the issue of dialogue with another religious person to the definition of religion and stresses its law-orientedness. Hans Küng talks about dialogues with the aim of creating world peace by proposing a declaration of global ethics. And finally, Abu-Nimer insists on bringing religious traditions, spiritual resources and removing misunderstandings in dialogue with another religion and considers all three as the most basic steps in the realization of this type of dialogues.

The purpose of this research is to explain and explain the role and place of dialogue and communicative action as a foundation in political participation. Since Nahj al-Balagha in Islamic societies is often considered as a source and reference for the actions and behaviors of people and officials, for this purpose, in this article, the communication actions underlying political participation in the themes of Nahjal-Balagha were studied. Therefore, the main problem of the research is the analysis of the role of rhetoric in the communication action that forms the basis of political participation. To answer this question, the method of qualitative content analysis was used. Considering that communicative action can play an important role in creating a correct view of interaction and participation in societies, the hypothesis of the authors is that Nahjalbalagha has constructive communicative action in political participation due to the comprehensiveness of its content. Finally, the results of the surveys show that Nahjal Balagha refers to the acceptance of two or more parties; The principle of knowledge and science, the necessity of accepting the differences of peoples, nations and languages, the possibility of achieving understanding and unity and freedom of thought and thought, observing the criteria of right and wrong, choosing the right path as the conditions for a favorable conversation, and also considering trust-building and competence of speech as the most important elements and Communication factors provide a very suitable capacity for the realization of desired political participation.

The subject of the present article is the study and analysis of the narrative element of dialogue in Siavash's story. The story begins with a conversation between Toos and Giv, who has found Siavash's mother, and ends with a conversation between Siavash and Pilsem, the elder brother, who asks him to convey his message to the elders. Therefore, Siavash's story is basically dialogue-based and all the information that the story is supposed to provide to the reader is transmitted to him through dialogue. In addition to this dialogue, in relation to other elements of the story, its different functions reveals. Ferdowsi uses it to describe and introduce the characters of the story. Shows narrative actions and conflicts, indirectly presents its idealistic thoughts to the audience. It objectifies mental phenomena, points tothe psychological problem of mental connection and language, and shows in practice that the functions of dialogue cannot and should not be neglected in the study of the story. The data of this research are provided through library studies and after classification, they are described using analytical method. This research shows more than anything that Ferdowsi, as a storyteller, not only knows the elements of the story, but is also more aware of how they work.

Heidegger and Gadamer return to Plato to find a way out of the meaningless crisis of Western civilization. Heidegger believes that Plato by proposing the doctrine of ideas is the initiator of the forgetting of Being and responsible for the crisis of the West. He returns to Plato's allegory of the cave to clarify the nature of this forgetting. In this allegory, dialectic means passing from the sensible world to the reasonable world. In his interpretation of Plato, Heidegger pays attention to this meaning and ignores other meanings of dialectic such as the method of conversation, the method of collection and division, etc. Of course, in Plato's Sophist, he connects dialectic with logos and criticizes it. In general, Heidegger considers dialectic as a problem for philosophy. Unlike Heidegger, Gadamer pays attention to the different meanings of dialectic in Plato's philosophy and considers its development. Gadamer's emphasis on conversation in Socratic dialogues, as well as the method of collection and division in later dialogues, makes him consider Plato's philosophy as a dynamic and living philosophy. According to Gadamer, dialogue and dialectic in Plato's dialogues can save us from the current crisis of the West. This article tries to investigate and explain with descriptive-analytical methods how dealing with different meanings of dialectic causes Heidegger and Gadamer to present two different interpretations of Plato.

Dialogue logic is one of the theories proposed by Mikhail Bakhtin, the Russian philosopher in the twentieth century. In this theory, he introduced language as having a social characteristic, which is conversational and polyphonic. In addition, Mikhail Bakhtin believed that poetry does not benefit from dialogue logic; However, Abd al-Ghani Nabulsi is one of the composers of the age of decadence, who was able to bring dialogue and polyphony to his poems by using in this way while creating unity between himself and others. With the aim of rereading the poems of Abd al-Ghani Nabulsi, the present article tries to check the compatibility of this theory with the poems of the poet in question. This study, with a descriptive-analytical approach, deals with the dialogue and polyphony in the poems of Abd al-Ghani Nabulsi. The findings of the study is that Abd al-Ghani Nabulsi created a conversational and multi-voiced work by using various techniques such as monophonic dialogue, two-way dialogue, flashback, polyphonic and intertextuality which arises from the beliefs and worldview of the poet.

The problem of personal identity, i.e. the question of what a person's being a person is based on, is one of the problems with a long history in philosophy and theology. The most important topic in the debates about personal identity is the criteria based on which a person remains the same person over time and is different from others. Personal identity is related to issues such as soul-body relation, memory, the whatness of "I", evidence of identity recognition, and even human population. It goes without saying that the personal identity is one of the topics that can have a special relevance in the survival of the soul and immortality. In his book Dialogue on Personal Identity and Immortality (1978), John Perry tries to present various philosophical positions and views on personal identity and immortality in the form of a three-person conversation between three fictional characters. In this book, various issues such as survival after death, the role of memory in personal identity, and the relationship of the body with the soul have been discussed from different perspectives. In this article, we will first introduce John Perry and his works. Then we examine the content of the book and the weaknesses of the arguments. At the end, we will have a look at the general quality of the Persian translation of the book (translated by Kaveh Lajevardi, published by Markaz Publications) and suggest what we think are better translations for some of the sentences.

The effectiveness of comprehension methods for text research depends on discovering the serious meaning of God from the verses. Commentators have always used different methods to discover and explain the meanings of the verses.The evidence of written comprehension is different from the text containing the speech structure.In the oral structure, a part of the text in the form of unwritten lines always remains neglected.The present article seeks to introduce the research method with the title "Dialogical Logic" according to the style and speech structure of the Qur'an.The basis of the mentioned method is the oral and gradual descent of the Quran, the element of dialogue and conversation in the form of the speech structure of the QuranAnd the elements of the method of understanding dialogical logic are: knowledge, personality components of the speaker and audience, message and situation.Paying attention to the mentioned elements shows the Quranic space of dialogues as a living space and depicts concepts called unwritten lines.And it provides a deeper and more accurate touch of the meanings of the verses.The application of dialogic logic theory as a new semantic method in Quranic examples shows its effectiveness in the entire Quran.

In this article, we will examine the relationship between tradition and modernity in the articles about Qaani. Contrary to existing stereotypes that see the relationship between tradition and modernity as antagonistic, we use the term dialogue to describe the relationship between the two. This dialogue was formed in the period between 1285 and 1320 SH on three levels: the formation of stereotypes, the debate of the modernists, and the revision of the previous notions. The dialogue between tradition and modernity in the articles of Bahar and Vahid shows a new form of relationship between these two concepts which does not fit into the stereotypical duality of tradition and modernity; therefore, they challenge the common perception of these two concepts. In the second stage, modernists argue with each other about Qaani, and the attempt to confine Qaani in the tradition creates a dialectical relationship between tradition and modernity while assigning him modern attributes. Finally, in the third stage, the dialogue between tradition and modernity expands into tradition and causes the resistance of tradition against tradition to collapse. This research can also be conducted on other poets, but due to his standing, accomplishments, and works, Qaani has provided a better context for this dialogue.

This research aims to provide a framework for the theory and criticism of young adult literature, which is different from children and adult literatures. Hubert Hermans' Dialogical Self Theory (DST), in conjunction with the field of adolescent psychology and philosophical ideas related to adolescence, offers a promising approach to progress in this direction. To this end, it is necessary to first conceptualise "adolescence" and understand the issue of young adult literature. The article then proceeds to discuss the implications of this symbiosis for the theory and criticism of young adult literature which conceptualises the adolescent as a dialogical and polyphonic being. The problem of young adult literature lies in the interaction between internal and external voices of adolescents, specifically in terms of dialectical movements of centralisation and decentralisation within the self. This interaction occurs within the tensions of the self, which can ultimately lead to self-development. This framework has implications for the theory and criticism of young adult literature, including the differences between this literature and children's literature. Furthermore, it invites a reconsideration of the definition of young adult literature. Drawing upon typical devices in Dialogical Self Theory, it provides an approach for the criticism of young adult literature.

Young adult literature scholars investigate the expansion of the theoretical horizons of Young Adult literature. As Karen Coats maintains, Young Adult literature has been instrumentalised, as if it were a house one passes on the way and not a destination in and of itself. Coats believes that to recognize the independence of YA literature, it is necessary to theorise it as a type of literature with its unique objectives and subject matters, the ones that distinguish it from children's and adult literatures. In other words, the theory and criticism of YA literature require endogenous approaches. This article aims to address such a need. Hubert Hermans' Dialogical Self Theory (DST) in symbiosis with theories of adolescent psychology and philosophical ideas about adolescence (which can be aligned with DST) identifies the concept and problem of adolescence. It will be revealed how this symbiosis contributes to the theory and criticism of YA literature. The present research investigates the contribution of this symbiosis to YA literature theory and criticism and takes a fresh look at the ‘philosophy of adolescence.’

This qualitative study employs an abstract-interpretative approach. The method of data analysis is inductive, as it extracts the concept of adolescence and orientation towards theory and criticism of adolescent literature in light of Hermans’ view in conjunction with adolescent theories.

This research draws upon Hubert Hermans’ Dialogical Self Theory (DST). Hermans, a Dutch psychologist and a well-known scholar in narrative psychology, developed his theory in the 1990s. DST provides a conceptualisation of the self and fluid identities. In this theory, the self is originally social and potentially dialogical. It consists of multiple "I-position" or multiple and dynamic voices that maintain dialogues in the self. Re-positioning itself spatially and temporally, the self continuously adapts I-positions or the voices of the society and others, and the acquired voices or positions are always in the process of becoming and reconstructing in the self. Positions in the self, are analogous to people’s behaviour in a community: some cooperate and form a coalition with common purposes or values, whereas others are more competitive and less tolerant toward the others (Hermans, 2002: 149). This theory is in line with Pragmatist traditions about the self and literary and philosophical traditions about dialogue.

In Hermans’ theory, the major problems in adolescence are ‘dialogue and polyphony.’ They are intersects where the adolescent and YA literature meet. In the theory and criticism of YA literature regarding adolescence concerns, the knowledge of theory and criticism of YA literature joins these two subjects and forms an interconnected triangle. Through I-position, meta-position, etc., DST explains the mechanisms and processes of power representation, subjectivity, identity, conflict, growth, maturity, and abjection as prevalent issues in YA literature. One of the implications of DST in symbiosis with adolescent theories for endogenous theory and criticism of YA literature is a fresh interpretation of the difference between children's and YA literature. In this light, the differences between the two need to be seen in the quantity and quality of children’s and adolescents’ internal voices or positions, the types of dialogue they have with each other, and the way the voices play their role under the influence of the two fundamental structures of development, i.e., centralising and decentralising forces. Re-defining YA literature in light of this development and search for meaning and identity are intersubjective processes between adolescents and adults and are among the central concerns of the present study.

‘Voice’ is a fundamental motif in adolescence and YA literatures. Given the fact that the concept of voice as a process and is always in change and reconstruction, and YA literature is a manifestation of this process, the critics and researchers of YA literature need to pay special attention to the existing and emerging voices in YA literature.
While most YA literature theories consider the process in which the adolescent character reaches maturity after dealing with different voices as bildungs literature, in accordance with DST, maturity and the search for identity are intersubjective; this renders the development of the self ‘relational.’ In this process, people of all ages might achieve a more mature mental state.
The difference between adult and YA literatures is in the quantity and quality of the repertoire of voices and manifestations of centralising and decentralising movements.
DST provides an appropriate framework for the analysis of emotion as a marginalised issue in YA literature. In a detailed analysis of emotion, one should identify interactive voices, the process of emotion/cognition interaction, the relation between them, the orientation of the author regarding their authenticity, and the position of the implied adolescent on the rational/emotional scale.
When analyzing YA literature, the critics need to focus on voice devices embedded in literary work and assess such devices as I-position, third position, enhancing positions, de-positioning, combination, etc.