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Comparative discourse analysis is a branch of linguistics focusing on comparative study of languages, cultures, and discourses in terms of similar linguistic and metalinguistic variables in the construction and monitoring of discourse (Linha, 2022). Monitoring discourse is the analysis of strategies in planning, distribution, production, and utilization of language to create coherence and relevance between units of discourse by the creative, innovative, and flexible way of application of discourse markers (DMs) in human communication (Mohammadi and Dehghan, 2021). This explorative, descriptive, and qualitative study analyzed coherence relations in “Modire Madreseh” by Jalal Aleahmad and “The Old Man and The Sea by Hemingway. DMs are the most frequent, complex, and creative meta-linguistic elements in human communication (Sayadkooh and Reisi, 2017). Their utilization in discourse is not random and they perform different cultural social and pragmatic functions facilitating human communication (Fraser, 2006). Theoretically, DMs are defined and analyzed from two perspectives: relevance theory by Sperber and Wilson (1995) and coherence theory by Glansberg (2018). And the assumptions include: all text possess coherence, there are different types of coherence relations in texts, and these coherence relations should be discovered by the people in discourse. Approaching DMs functionally, Redeker (2006) believes that DMs’ main function is establishing relationship between units of discourse. From a semantic perspective, Fraser (2006) analyzed DMs at sentence level and believes that they establish the relationship between messages in the former, present, and latter sentences. Aijmer (2013) concludes that DMs do not possess fixed lexical functions and their functions are contexts-dependent and context-sensitive resulting in different functions in discourse. Empirically, DMs are investigated in different languages skills such as writing, speaking, listening and translation by different investigators. This exploratory, descriptive, and qualitative study analyze coherence relations in two Persian and English literary works. Theoretically the study was supported by coherence theory in discourse analysis and the following analysis models established within this theoretical perspective: DMs inventory developed by Fraser (2006) and DMs functional inventory by Brinton (1996). Coherence theory centers around the appropriacy of concepts in terms of their relationship in the context of discourse. The corpus consisted of the following two Persian and English novels: “Modire Madreseh” by Jalal Aleahmad and “The Old Man and The Sea by Hemingway and these novels where selected due to the similar literary genre, similar readability levels, and close date of publication in two literary discourses. Moreover, to verify the reliability of the findings 20% the data were given to two raters to verify the researchers’ identification and classification of DMs and their functions. The results of the quantitative analysis revealed that the construction of coherence relations between units of discourse was substantiated based on a four plane framework established by four groups of inferential, elaborative, contrastive, and temporal DMs in monitoring discourse. And the most frequent DMs were elaborative DMs. The qualitative analysis of the pragmatic functions of DMs applied in these literary works resulted in the following seven plane spectrum of functions for DMs: information indication, temporality, topic switch, opening markers, closing markers, turn exchange, and reform markers. This creative, flexible, and innovative approach in the construction and interpretation of discourse is substantiated through the application of pragmaticalization. So, new, creative, and context sensitive inferences about functions are substantiated for DMs and they are always being renewed, modified, and innovated substantially. Different implications in different research and educational perspectives about teaching literature, language, and different languages skills are suggested and discussed.

The use of the word musk in Khaghani's Divan is special and rare. In most of the cases of using the word musk, he had an imaginary opinion. Khaghani has created beautiful and delicate poetic and artistic images with the word musk with the help of the branches of speech science. This research investigates the rhetorical meanings and special artistic images created by Khaghani with the word musk. The poet’s imagery with the word musk can be classified into four categories of popular beauty effects, natural elements, eloquence, and value. Khaghani is a metaphorical poet and in using the word musk, he considered metaphor more than other types of expression. By creating novel images and new themes with the word musk, he makes his words imaginative and somewhat difficult and urges the audience's mind to strive. This research was done using a descriptive-analytical method. After extracting verses from Khaghani's Divan in which the word musk is used, the authors tried to express Khaghani's skill and ability in using this word in artistic imagery by presenting statistics and tables.

The aim of this article is to conduct a linguistic-rhetorical analysis of semantic marking in three long stories by Leilā Sabūhī in order to show the author’s esthetic from a linguistic perspective; i.e. how the author has used combination in the contiguity axis to convey her topic and content to the audience in a precise way. This study is a qualitative library research, which was carried out with analytical-descriptive and narratological methods. The results indicate that, in writing the stories, the author has given a poetic aspect to her work through rhetoric, simile and allegory. She has brought the signified of the language system closer to the examples of the outside world and in a special and innovative way invented novel similes. And, instead of using the elements of selection and substitution to create poetic words, she has described and imagined her words through the axis of contiguity by creating new similes, bringing her text closer to the world of poetry. This has caused the narrative beat to slow down the plot and affect the tone and atmosphere of the story. The tone and atmosphere are the same in all three works, and the reader feels that he is following the first work. Finally, the author’s narrative technique involves present and creative imagination and   focalizations through rhetorical marking (simile and allegory).

A significant part of Persian poetry consists of panegyric poem. Analyzing the works of Persian poets, it is evident that most of them have a trace of panegyric poems in their collection of poems. However, judging eulogy with the present criteria caused this unavoidable and valuable part of Persian poetry to be neglected. This problem leads to inaccurate perceptions concerning these poems along with inappropriate encounters with such kind of poets. This misjudgment has challenged the position of euology in Persian poetry since it is not assessed properly and few researches are devoted to this area.  In this article, first of all, a vivid image of panegyric poem is presented. Then, its structure is analyzed. Eventually, the most important functions and values of panegyric poems are listed. The main aim of this paper is correction of inaccurate perceptions and judgments of eulogic poems.

Zaidari’s prose writing is widely regarded as an artistic and rhythmic masterpiece, with his work “Nafthat-al-Masdur” standing out as a tour de force. Despite the scientific and novel explanation provided by Dr. Amir Hassan Yazdgerdi, there remain several issues and ambiguities within this text.
Shihab al-Din Muhammad Khurandizi Zaidari al-Nasawi or Muhammad bin Ahmad bin Ali bin Muhammad Monshi (died: 647?), whose family resided in the Khurandz Fortress near the city of Zaidar in the province of Nisa (Nasavi, 1965: Introduction), wrote the book Nafthat-al-Masdur four years after the death of Jalal al-Din Khwarazm-Shah (murdered: 628 AH) while describing his own one-year sufferings, and the reign of Jalal al-Din Mangburni (ruling: 617-628AH)
Nafthat-al-Masdur is considered a reliable historical and literary work, particularly concerning the events and situations of the Anushtegin dynasty, their bravery, cowardice of the king, the corruption and betrayal among courtiers, Minkubirni’s disease, and the extinction of the Anushtegin dynasty. Furthermore, it serves as one of the crucial historical sources regarding the Mongol invasions, atrocities, and plundering of Iran.
The book Nafthat-al-Masdur is written in the format of a letter addressed to a prominent figure from Khorasan named Saʿd al-Dīn, who was apparently a relative of Shihab al-Din Muhammad Khurandizi Zaidari (Nisavi, 2020: introduction, 79). Shihab al-Din writes in clerical prose style, which entails the use of verses from the Quran, Hadith, common proverbs, as well as Arabic and Persian poetry to make his prose more artificial and decorated for the reader (Sajjadi, 2016: 532). At times, he employs exaggeration, metaphor, irony, allusion, rhyme, contrast, derivation, and simile to such an extent that it can confuse the interested and novice reader. This study strives to clarify some of the ambiguities within the book.
Despite the efforts made in providing explanations to resolve ambiguities in the text of Nafthat-al-Masdur, certain readers would encounter difficulties and ambiguities that require further clarification. In order to attain a more precise understanding and explanation of Nafthat-al-Masdur, it is imperative that specific points be clarified and expounded upon. Furthermore, technical language and reference pronouns have been identified as areas of confusion for some readers. Correcting the movement of words and punctuation marks, as well as reference pronouns, may also prove necessary in certain instances. The aim of this undertaking was to elucidate the salient points and challenges inherent in Nafthat-al-Masdur to the best of our abilities.


The research methodology entailed providing answers to key questions that had emerged over several courses in which Nafthat-al-Masdur was taught to esteemed doctoral candidates. Furthermore, responses were furnished to other ambiguous aspects deemed necessary. Additionally, the author's intended objectives were cross-examined with three handwritten versions, most notably the version recognized as “Sii”, which is considered the most accurate and superior rendition (Khazanedarloo and Sultani, 2016: 26).
 


This study aims to elucidate, and enhance comprehension of the vocabulary and phrases featured in Nafthat-al-Masdur by presenting the contents of the book according to the late Dr. Yazdgerdi's explanation in a systematic manner. In contrast to the original text, which included the opinions of other scholars, this summary solely focuses on the author’s viewpoint and interpretation.
Page 1, Line 6: “When the Lord of the Days bears the burden of events entwined, he wields the sword of severity in full force.”
The salient point of significance here pertains to the aspect of burden, rather than the placement of “small loads on larger burdens”. In the greater Khorasan region, the term “sarbari” holds two distinct meanings:Firstly, it denotes a lightweight or minor object that is placed on or adjacent to a larger load after some time has elapsed from the movement of the pack animal.
Secondly, it refers to a person or object that interferes or becomes involved in a situation or environment without any necessity. With regards to the feminine phrase under consideration, the latter meaning is intended. The sword, in this context, serves as a lightweight weapon that instead becomes an encumbrance or vexation, causing pain and suffering to others—a burden that materializes during a caravan of unfortunate events, namely, the advent of the Mongols.
Page 3, Line 7: “From a pen that when it does not sit on black, performs white, and when sitting on white, performs black...”
The meaning of “sitting on black” is to insert the nib of the pen into the black inkwell. Considering that a pen filled with black ink creates valuable and useful books and writings, we take “whitework” to mean the good work of the pen and the beneficial effect it produces. The last meaning that the late Ali-Akbar Dehkhoda wrote about “white-work” is true here.
Page 9, Line 14: “And I had heard the news of the return of my desired army from the Romans.”
What was discussed in this article is about “Rome” so that it can be definitively stated for the audience, with reference to historical sources, what is meant by “the army that has returned from the Roman side”.
Page 14, Line 8: “He attained a kind of madness, like that of a shoemaker’s device, in distress.”
With reference to the tools used by traditional shoemakers, “a line like a shoemaker’s device” refers to the non-standard hooks that shoemakers use with a hammer to shape the leather into a shoe. The bad handwringing of Zaidari’s rival is compared to this.
Page 42, Line 8: “You couldn’t even pass through the ring with all your might, and breathing with all your delicacy...” (Nasvi, 2020: 42).
In this phrase, the "ring" refers to the ring of Mongol troops around the tent and court of Anushteginids. The Mongol army had surrounded Jalal al-Din's camp in such a tight circle that even breathing was impossible.
Page 85, Line 3: “Basemak, Ahmad Urmawi..”
“Basemak” or according to Minovi’s the handwritten copy "Bashmik" (Nasvi, 1926: 70), is a non-Persian word. Here, it is used as an insult meaning “dishonorable, dishonored, and weak person.”
Page 104, Lines 8-9: “What is the event of Urmia? ...”
This refers to the attack by Jamāl al-Dīn al-Iraqi's assignees, who beat and stripped Zaidari and his servant in the midst of snow and cold, leaving them to die (Zaidari, 2020: 86). Using contemporary texts, Zaidari provided insights in explaining the meaning of this event.
 


Despite the extensive commentary of the late Yazdgerdi on Nafthat-al-Masdur and the efforts of other scholars to explain ambiguities in the book, due to the intricate nature of the book, some readers still have difficulties in understanding certain parts. In this regard, an attempt was made toelucidate, as much as possible,  some of ambiguous points of the book. In brief, some of the matters which have been discussed are enumerated as follows:1- “Sarbari”. Although this word has been explained, in Greater Khorasan it has a broader meaning that is better suited to the context.
2- The phrase “blackening the pen” seems to imply that coating the tip or nib of the pen in either silver or black color is more appropriate for the context than other explanations. Likewise, the phrase “whitening the pen” means doing good and virtuous deeds with the pen which results in the production of valuable books and writings.

Regarding the phrase “return of the army from Rome” and based on historical books of the same period such as Tarikh-i Jahangushay and Zaidari’s other book, the meaning of the phrase “I had heard news of the return of an army from Rome” was convincingly explained with reference to the sources, leaving no doubt about this matter.
The simile “a line like a shoemaker’s device” was explained by examining the tools and methods of shoemaking in the past, and the image and meaning of the phrase were elaborated.
The word “to” at the beginning of the first line and the word “jewel box” in the next line were identified, and then the meaning was determined based on the meanings of “to” “in” and “inside”.

“The green and emerald plant are the same color, but they differ in appearance due to their jewel boxes”

The meaning of the first line on page 33 was explained.
The explanation was given regarding whether “bashmak” or “bashmik” is an adjective or a noun.
The meaning of the incident of “Urmia” on page 104 of the book was explained, and some other ambiguities were also resolved.

Following the primary epics, another type of epic was formed, which is called secondary or artificial epics; A type of epic that is formed by imitating the original epics is religious. They describe the heroism of one of the most prominent figures in the history of Islam, who held a high position among most Muslims. The composition of such poems began in the fifth century, shortly after the time of Ferdowsi, but in the Safavid era due to political and social conditions has been narrated and continued and the attention of poets in later periods to this literary form has been much. In the period between the 11th and 14th centuries, more than twenty religious epic poems have been counted in the Isfahan region alone, which have not yet entered the realms of research.The present study, while explaining the various aspects of religious epics with a descriptive-analytical method, has analyzed and criticized the various areas of the three collections (manuscripts) Ordibeheshtnameh, Shahanshahnameh, Maghamat-e-Hosseini as examples of religious epics. The result of the research shows that the poets of the works did not pay much attention to the linguistic and rhetorical system in such a way that sometimes the epic and lyrical elements are mixed; The semantic and content system has been highly regarded by poets and they have tried to use the text as a means of expressing their religious and doctrinal perceptions, which is a mixture of history and the Poetic preparations. In the meantime, Ordibeheshtnameh and Shahnshahnameh have been very much influenced by Ferdowsi's Shahnameh, but Maghamat-e-Hosseini, apart from rhythm, seems to lack many epic components.

Intertextuality is the production of text through interaction with the texts of its predecessors or contemporaries, in which the participation of those texts in the text in question is explicit, implicit and implicit from one text to another. Gerard Genet is one of the most prominent researchers in the field of intertextuality, focusing most of his studies on the nature of narrative discourse. With this view, Suhrawardi's encyclopedias have been evaluated in the position of pre-text and the order of the Republic of Sheikh Kharghani as post-text. In this study, it is shown that Sheikh Kharghani has been influenced by the encyclopedias and most of the intertextuality in the Dastoor al Jomhour has been done implicitly (borrowing and inspiration) and sometimes Kharghani has an implicit view of the encyclopedias. The present article concludes that Sheikh Kharghani is in a mystical-intellectual atmosphere similar to Suhrawardi, and this closeness has led to the creation of commonalities and conceptual similarities in the work. In this research, intertextuality has been studied in the republican order and after studying the theoretical foundations, it has been adapted to Suhrawardi's encyclopedias. The result presented in a library method and in an analytical-descriptive way proves the intertextuality in the work.

Iranian scientists have played a significant role in the area of Islamic sciences. They have a special contribution to and a special place in rhetorics, to the extent that it can be claimed that the major developments of rhetorics were mostly achieved by the Iranians. Major examples of the figures include Imam al-Haramain, Imam Muhammad Ghazali, Imam Fakhr Razi, Qazi Azad Eji, Allama Taftazani, Allameh Devani, and Mohaghegh Seyyed Sharif Jurjani. The evidence for this claim is the extensive and diverse works that exist in this field. One of these rhetoricians, the late Seyyed Abdul Rahim, who is also known as Mawlawi Tawagozi, contributed to the field in the form of poetry due to his mastery of rhetorics and theology. His poems "Al-Fadilah" and "Al-Aqeedah al-Mardiyeh" cover all common theological topics. It is well known that the famous scholar and expert teacher Mulla Abdul Karim Modares has described it in simple Arabic language as "Al-Wasila".   Throughout the present article some of Mawlawi’s rhetorical and theological opinions have been examined..Keywords: theology, Ash'arites, Rumi Kurd, analysis, adaptation

Arab literary critique is called classic critique before Arabic renaissance because it is still based on traditional critique including Zoufi critique, moralcritique and psychological critique.  The critique of the pre-Islamic era lasted in such an atmosphere until the end of the third century, but it is changed to philosophical critique in the fourth century by introducing Greece philosophy. This critique becomes philosophical under Aristotle’s two works which are “The speech” and “the book of poetry”. It is after this stage that the Arab world is confronted with two poetry techniques that are Aristotle poetry technique and Arabic poetry technique. According to these two poetry techniques, literary critique becomes philosophical because of Aristotle philosophy, but it is based on traditional criticism. Based on the hypothesis that Arabic critique is influenced by Aristotle poetry technique, this article poses the question of whether this influence has been influential in the fundamentals of critics’ criticism or has given rise to a proven approach. The result of this study is that this influence has shaped Arab critics’ general approach for centuries until the advent of the Arab Renaissance. The result of this study is that this influence has shaped Arab critics’ general approach for centuries until the advent of the Arab Renaissance.

Biddle Dehlavi,a famous Indian poet, is a poet and illustrator who took the word “color” out of its specific meaning and turns it into various and pleasant forms with a relative and compositional mind and with that word, the network has created a very wide association. The purpose of this researches to study and analyze some of Biddle’s illustrations and innovations with color motifs from a linguistic and to rhetorical perspective and to explain and clarify its connection with his ideas and thoughts.

The present research has been done by descriptive- analytical method and library method. The main source of the work was Bidel Dehlavi’s Divan, edited by Akbar Bahdarvand, which was published by Negah Publications.

In Biddles Divan, the word “color” has been used more than seven hundred times, so much so that in addition to the “poet of mirrors” attributed to him by Dr. Shafiee Kadkani, he can also be called “poet of color”. color is used in Biddeles poems sometimes linguistically and sometimes in literary and rhetorical structure. Sometimes it is intended in the literal sense, and sometimes in the virtual and unreal meaning. Thus, this element has played a significant role in shaping the meaning and form of his poems.

From a rhetorical point of view, the remarkable frequency of new and abnormal metaphors with the element of color has added to the ambiguity and richness of Biddles speech. The images that Biddle made with the word color are more in line with his mystical beliefs and are summarized in the concept of transformation, destruction and annihilation, which he used in the form of rare metaphors, similes and pristine and fresh allusions and it shows a world far from the mind, chaotic and surreal. From linguistic point of view, additional compounds made with “color” have the highest frequency, especially compounds such as “color circulation” which are related to the mysticism of the poet’s existential unity.

Every novice or skilled writer while writing a story, in order to create their own fictional characters and also to identify them, consciously or unconsciously turns to characterization and with the help of its various methods, features and It depicts the inner and outer characteristics of the characters in their story. The novel "Kiss God on the Moon" is one of the outstanding works that has been written in recent years. The purpose of this article was to investigate the indirect characterization methods in the mentioned novel. The research method is descriptive-analytical and the data have been analyzed using content analysis method. The findings of this study indicate that in this work, the element of dialogue and in the following categories of description of "behavior and actions" and "appearance", "tone and environment" play the most important role in indirect characterization.

In Toulmin's theory of argumentation, each argument may have six components: 1) claim, 2) data, 3) warrant, 4) backings (for the warrant), 5) rebuttal (of the claim), and 6) qualifiers (of the speaker’s certainty), of which the first three are essential and the rest are optional. Based on his theory, this descriptive-analytic research aims to analyze 4 selected poems of the religious/ethical collection of Wheatley (1773) from three aspects: (a) identifying Wheatley’s warrants, (b) categorizing her claims and their grounds, and (c) her tone and certainty. Consequently, the following results were obtained; Wheatley’s claims and recommendations in selected poems were rewritten in simplified language, free from figures of speech, which varied greatly in proportion to the number of selected poems. However, these claims can be categorized under these related fields: (a) individual ethics, (b) governmental-political ethics, and (c) theology. Since most of these claims are prescriptive, Wheatley can be categorized as a deontologist. In addition, supporting the claims, numerous warrants were identified mostly rational and implicitly-asserted.Although she tends to use a conservative voice by resorting to prays, rhetoric questions, exclamations and hyperboles while addressing her recommendations to elites and high-ranked people, she prefers a declarative voice which essentially does not need any qualifiers. In sum, Wheatley has a strong, assertive and consistent voice in the selected poems.

Hafez's Simplified and interpretable language has been formed from underlying layers that the layers can be read and understood by everyone. But understanding and receiving the underlying layers depends on the principles of interpretation and decoding. In the arts and language of Hafez, there are abilities that help us to elaborate hermeneutic principles based on semantic multiplicity. In this research, it has been attempted to examine and to analyze the correspondence of these approaches to hermeneutics and the level of quality of interpretation in Hafez's poetry, by studying the interpretive approaches to some of the Hafez spatial systems carried out by various contributors. Although the semantic plurality and uncertainty of meaning and the correspondence of the nature and quality of Hafez poetry to the hermeneutic science is undeniable, it is true that some of the interpretations of the Hafiz lyrics despite the beautiful evidence and evidence, are in keeping with the horizons of expectations of the text and frameworks are not readers expectations. The aim of this research was to answer the question of “in what fields Hafez's poems can be criticized and studied with great theories such as Swedenburg, Paul Ricoeur, Gadamer, Iser and Hersh?”

Lullabies, as the primary whispers of adults and children, have become a platform for research in the field of children and adolescent literature due to their thought-provoking content and diverse capacities. One of the practical fields of lullabies is to strengthen the spiritual intelligence of the audience. Spiritual intelligence and its strengthening in children is one of the issues in modern science. Based on this approach and focusing on the text of lullabies, components to enhance spiritual intelligence have been extracted from the text of lullabies and these components have been studied in a descriptive-analytical manner in the text of lullabies. The results of several components have been found in the texts of lullabies and the components of "sense of mission" and "self-awareness" have been among the most rewarding components

The controversy over the role of reason, like other subjects of human knowledge, has gone through many ups and downs. In "wisdom in syntax" we seek a phenomenological view of "syntax" and knowledge of how it manifests itself to others, while in "syntax of wisdom" we seek to know what linguistic reason expects from us. In their contemporary approach to grammar, Western linguists have analyzed sentence structures from three "transformational-generative", "functional", and "cognitive" approaches, based on which we have tried to delve into the place of reason in Arabic grammar. This study is an attempt to find out whether the analysis power of reason should be called on from somewhere else or it is innate to the Arabic language. Linguistic features such as "declinable vs. indeclinable", "probability vs. certainty", "diacritics", "forms and morphs", and categories such as "agent and theme" and "semanticism" are all justified by "reason", without which they have nothing to say! Besides, community, speakers and addressees do not have a haphazard or mechanical relationship with the structure and form of sentences; rather, sentence structure rules and various forms are closely related to the elements that make up a verbal communication. It is certainly the power of reason that deciphers the relationship between sentence structure and extralinguistic factors. Accordingly, the power of reason causes morpho-syntax to adopt an analytical and argumentative state rather than a merely descriptive one.

Stories and legends of literature are part of the cultural heritage of each nation, which determines the traditional and cultural values of every society. First step of the analysis of stories and anecdotes, must be the study of constituent elements of them, then discovery of the relationships between these elements and the process of the story. This type of study and analysis is useful for each story of the classical, narrative, and fiction literature and covers all societies. In the current study, which was conducted using descriptive and content analysis methods, the lyrical and romantic story of Rana va Ziba written by Mirza Barkhurdar Farahi has been studied according to Vladimir Propp's morphological theory, that classified into; stages of the early situation, creating problems, trick, combat, come back, and wedding; Moreover, while analyzing the thirty-one functions that is considered by Propp in this story, we figured it out that the most frequent performance in this story are the supportive element, the decision that protagonist of the story made, and also the defiance .this story contains three misfortunes and calamity, and eliminating of them, that base on those the three comebacks and transfers happen to the main heroes of the story.

Rhetoric and eloquence are among the terms that have attracted for researchers since the beginning of rhetorical works. In different periods, while discussing these terms, rhetoricians have tried to provide criteria for them. What is obtained through rhetorical books shows that after the early centuries in Islamic rhetoric, we are faced with tasteful criteria in this realm, criteria whose acceptance and application today are not without many flaws and such criteria cannot be used as measures for different texts, especially modern texts and new formats or types. In the present study, while examining, analyzing and criticizing the rhetoric and eloquence and categorizing the opinions of predecessors, we have tried to explain the terms with other component; components that can provide a clearer picture of the concepts of eloquence and rhetoric. It seems that to get a clearer understanding of such concepts and to avoid exploitative views, one can use the opinions of linguists about context types of context, as well as Roman Jacobson's communication theory and the six roles of language based on this theory; In other words, with the help of linguistic studies, the components of rhetoric and eloquence can be redefined in other ways which in addition to clarifying terms and avoiding aspects of taste, it is more inclusive. Accordingly, the various context of speech along with the roles of language can be considered as the central elements of rhetoric and eloquence. At the same time, according to Van Peer, literary and sacred texts are always "making context”, they make their context based on the situation in which they are located; In other words,literary and sacred texts do not have a closed and unchangeable context. In addition, in this redefinition, we must consider the various textual, situational, cultural, and social contexts, along with a new understanding of communication theory and language roles, as components of rhetoric and eloquence.

Artistic people are distinguished from ordinary people by their ability both to appreciate emotion and to convey it. Psychologically speaking, emotion is the same thing as excitement which is usually followed by feelings such as anger, fear, sorrow and happiness. Analyzing and introducing emotion from the viewpoints of both literature and psychology, this research seeks to focus on the emotion-related traits of the story characters of the Story Maroon by Belgheys Soleymani. Using the library card catalog, a descriptive-analytic method was chosen by this research which was among the first to comparatively study emotion in literature and psychology in the 2010s. Prior to the 90s, no single source of emotion in the literature and psychology had a comparative study of emotion. Maroon is a realistic story with a woman as the leading character who behaves not only in an unruly but also in a manly way.The story succeeds in communicating the emotions of anger, fear and hate to the reader, since the writer makes use of excitement-related processes to convey both emotion and feeling, making it possible [for the reader] to conceive the characters. This results in particularly impressing the audience by expressing emotion throughout the story. To sum up, knowing about their audiences' way of thinking, writers could find better tones in story-telling and communicating with their audience. This is because, having understood the mentality of their audience, writers can succeed in their works.

The present exploratory research intended to investigate the coherence relations in intercultural communications in the process of translation. As a result, the manifestations of underspecification in translation strategies of the most frequent, complex, common, and apparently simple discourse marker “and” were investigated qualitatively and quantitatively. Research methodologies in discourse analysis and translation studies were combined through the data derived from parallel corpora in simultaneous translation. The parallel corpora in consisted of three lectures in Persian and their simultaneous translation into English including about 35000 words. Instances of DMs were determined and sorted applying Mohammadi and Dehghan (2020) inventory of DMs based on the analysis of corpora in translation studies. The results revealed that in 73% of the cases, the simultaneous translator resorted to underspecification in the process of translating discourse marker “and”. This explorative investigation revealed two manifestations of underspecification in the process of analysis: change and omission. The translator changed this DM into different DMs in 35% of the instances. And the instances of AND were deleted in 38% of the cases. However, in 28% the instances of use “and” was not underspecified in the process of translation. The bases and sources were discussed and different educational, research, and administrative implications were suggested.