جستجوی مقالات مرتبط با کلیدواژه « comparative » در نشریات گروه « ادبیات و زبان ها »

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 irony of poets who were able to portray the bitter and paradoxical realities of society has a special place. Iron has particular methods for correcting the inaccuracy and decreasing extremist tendencies in society. This research tries to acquaint the reader with the situation that society suffers by expressing the humorous methods of Abdul Sabour and Shams Langroudi and based on the comparative courses, we conclude that these specific courses are: 1-When depicting some situations by image heterogeneity the incompatibility of two opposite sides become clear and from this incompatibility new concepts are created and irony becomes bitter and acrimonious .2-Visual simulation imitates literary works and then seek new goals.3-Caricature by highlighting a problem or idea, make it ugly and out of ordinary. By doing this kind of thing they want people to return to dignity, unity, endurance, and resistance and not to hand over the key to country to traitors and avoid enmity, hatred, and lies that the devil rules over but their difference is due to their intellectual orientation. Abdul Sabour depicts situations with a romantic, realistic, and ontological look but Langroudi represents with a surrealistic look that is sometimes mixed with realism.

Saadi is a 7th century poet and the only master of romantic, mystical and instructive lyric poetry, Hammam Tabrizi is a contemporary of Saadi and has a poetry collection of about 4000 verses. In the Jang manuscript number 478 of Lala Ismail Library of Turkey, 47 ghazals of Saadi are compared with 47 ghazals of Hammam Tabrizi under the title "Controversies between the ghazals of al-Sheikh Saadi and Maulana Humamuddin Tab Tarahama". While correcting the mentioned manuscript, researchers have studied the style and influence of these two poets.Hammam's influences from Saadi are either based on the basis and foundation, without any similarity in appearance and theme, or the influence of weight and rhyme, which are of two types: Ghazals by Hammam, which are influenced by Saadi in terms of weight, rhyme and theme, and second. Ghazals that are united only in weight and rhyme is the method of library and analytical research, and since these two poets are contemporary with each other and so far the poems of these two have not been studied in a comparative stylistic way, it seems necessary to carry out this research. arrive

The great event of Ashura is full of persistence and epics in which Imam Hussein (A.S.) and his noble companions were the heroes, so this aspect (epic) of that eternal event is more prominent than other dimensions and it has a special significance. In the present article, using a comparative approach, the epic, ritualistic backgrounds of Ashura are explained in the works of Elhami Kermanshahi and Abbas Gholi Yahyavi Ardabili and the reflection of ritual (religious) and epic values of Ashura such as: steadfastness, self-sacrifice, resistance, struggle and resistance against tyranny of oppressive individuals and governments, praise of freedom and libertarianism, incompatibility against oppression, invitation to defense and perseverance against tyrants and Jihad and martyrdom, and Shiite revolutionary ideas were studied in the field of Persian and Turkish literature with thought-provoking and instructive examples. Finally, the article concludes by examining the poetic purposes and its value and literary consequences.

The 19th century was characterized by great socio-political ups and downs both in Iran and France. In the meantime, literature could not be indifferent to such developments. In France, Arthur Rimbaud managed, despite his startlingly short and turbulent life and the unorganized works he authored, to attract a lot of attention. Today he is recognized as one of the influential figures of modern poetry in France. On the other hand, the contribution of Nima Yoshij to contemporary Persian poetry is undeniable. However, these two prominent figures have rarely appeared in a comparative study. Focusing on the socio-political context and framework of the two poets and their well-known artworks (The Myth by Nima and The Drunken Boat by Arthur Rimbaud) the researcher seeks to draw a comprehensive pictorial, rather than a mechanical, comparison between the nature and different aspects of the attitudes of these two poets towards the aesthetic literary tradition of their time as well as the requirements and developments of the turbulent era of their life. In the first section, we study the material-historical framework involved in Nima Yoshij and Arthur Rimbaud’s artistic creativity. In the second section, textual review instruments such as the linguistic instruments used to address literary works, will be used to conduct a more concrete study. In the end, it can be seen that both poets, are almost equally sensitive about the issues of their time.

 Sociological analysis of capital types can be seen in the views of theorists such as Bourdieu. In Bourdieu"s definition, in addition to economic capital, other types of capital are also very important, which are: cultural, social, symbolic and economic capital. This article looks at the effects of female precedence and latency on each other in the analysis of female capital by looking at the capitals of female characters in novels The Tibetan Dream and The Forbidden Book.

 This research was conducted by descriptive-analytical method.

 This article shows how societal activism of women"s assets emerges in sociological comparison and relying on the capital element of these two works. The result of the study, comparing the narrator"s capitals of the two novels, reveals the precedence of the Tibetan dream women"s cultural capitals over the Forbidden Book of Novels, which is a late economic capital (in the shadow and support of men, as rights or inheritance) and symbolic (ie love and respect for Mother figure) in a small way for them.

 In the field of social capital, women in the two novels have only the first social capital (marital and maternal relations) which does not have a positive reproduction and the main character of the Tibetan dream novel loses this small capital and instead loses the symbolic capital of love. Earns. Since in the novel Vafi the two characters Shiva and Sholeh have relatively high cultural and social capital, they reproduce more social and symbolic capital in the study of the precedence of capitals in comparison with the novel Despespeds; While in the novel Despodes, in having different types of capitals, their early capital (cultural and social capital) is small, which does not lead to positive reproduction.

The criticism of contemporary literature has taken a big step to change the one-sided view of the events of the text and to implement the method of external dialogue in its context in order to recognizing various views and awareness. According to Bakhtin's view, polyphony is based on the multiplicity of interconnected and various sounds and languages in the structure of dialogue and its composition. The contemporary Arabic poetry is known for its narrative action between the thoughts of the characters and the exchange of common and different voices in order to explore literary polyphony, especially in the poems of Fereydoun Moshiri and Adib Kamaluddin allow them to express their concerns, desires and pains in various ways. This descriptive-analytical method seeks to address the most remarkable literary polyphonic techniques of two poets based on the American school of comparative literature. The summary of the results shows that the two poets, in addition to adopting to the traditional method of voice narration, resort to polyphonic types such as hybridization in order to developing the social views of languages in the light of ambiguity and ambiguity in their function, as well as stylistic style. In order to achieving the structural unity between the sounds, despite the difference in the type of dealing with another sound. The two poets use pure dialogue when engaging in controversy between characters or exchanging questions and answers on a particular subject, and at the end use a variety of ideologies to show how the characters deal with fundamental known values and ideas in the form of an ideology of surrender or defiance.

This study set out to conduct a typological investigation of “comparative/superlative construction” and analyze the formal and functional differences of the constructive components of this construction in Persian language. To this end, firstly, the most important morpho-syntactic strategies encoding the superlative comparison were identified. Secondly, the formal expressions of the components were examined. Thirdly, the dominant strategy of expressing superlative comparison in Persian was determined based on Stassen’s typological classification (1985) and Nose’s proposed generalization (2010) as the theoretical framework. As with the research methodology, this study was a corpus-based and descriptive-analytic research. The data included 164 sentences collected through a comprehensive search in Colloquial Persian Dictionary written by Najafi (2008). The results showed that the Persian language uses a variety of strategies in term of Ezafe construction, free word order, and a dedicated grammaticalized construction to encode the superlative comparison. Furthermore, the formal expressions of the components of “parameter marker”, “standard marker”, and “standard” are not obligatory and their ordering in the sentences is flexible; however, the formal expressions of “comparee” and “parameter” are optional, except in one case, and they are obligatory in other constructions. Moreover, it was revealed that although the superlative comparative constructions in Persian were mostly of the “Locational” type, Presian used some more constructions or strategies, which were not documented in Stassen and Nose’s proposed models. Finally, the study concluded that Stassen’s typological classification and Nose’s proposed generalization were not adequate enough to explain the Persian data and thus needed to be modified.

The comparetive study of prosody traits used in the poetries by Saadi , Molavi and Hafez ,is Of prim significance in stylistics of their Qhazals and other most famous of poets of seven and eight centuries, In this research, for the better identifying of the qualities of meters ,frequency of rare, common ,uncommon meters of 4350 Qhazals have been compared. Study of Saady and Hafez’prosody has presented that Ramal and Mojtas meters are the most frequent, eventhough Hazaj and Mozare meters enjoy the highest frequency in Molavi’ qazals.The different meanings usually have been presented with all of meters. Although Saadi and Hafez lived in different eges, the mesure and qulity of many their meters are remarkably similar. Molavi has had innovation in meters of his Qazal, especially the Repetition meters where as Saadi and Hafes had no innovative meters. Common meters of these poets are 30 that fifth of which are the most frequent. Repetition meters have geart effect on expressing influencing mystical meaning in Molavi’ Qazal.

The allegorical verses of Rabe'e and Baktash from the ElahiNameh of Attar Neyshaburi, have been written with a mystical source in 421 bits of love with the theme of love, and Raba'a, though a prince, loves Becketash, his brother Al-Harith. The Salaam and Salam are 10860 Verses of the HaftOrang of Jami, an allegorical story of Absal -Dāyā- With Salaman. In both stories, Women are the beginnings of love. Rabe'e likes Baktash and Absal likes Salaman and their love for the beloved are stable and clean. Both characters are from the royal family; Rabe'e's Father is the king of Balkh and Absal's Father is the king of Greece, and they both end their lives from within the family. Rabe'e is destroyed by his brother, and Absal burns himself in fire. This research, which has been done through descriptive and content analysis, shows that the creativity of the two poets in affecting the exact description of love as well as the character of personality influences the audience until the end of the story, and despite the mysterious nature of both narrations, An attractive and lasting story is told in the story. The main issue of this research is the comparison of the romantic verses of Rabe'e and Baktash of Attar, Salaman and Absal of Jami, and the expression of the differences and similarities of the two poems, the explanation and precise description of love as well as the character of the characters and its impact on the audience, and how the lyrical atmosphere of the story is in Has the story progressed effectively?
Keywords: Rabe'e and Baktash, Attar Neyshaburi, Salaman and Abasal, Abdolrahman Jami, Comparative.
 
  Since love is the basis of rich literature and the skill of the poets in expressing artistic expression and presenting pure love images is one of the issues of interest in the field of literature; a comparison of the romantic poems of 'Rabe'e and Baktash' of Attar and 'Salaman and Absal' of Jami, the explanation and exact description of love, as well as the character of the characters and its effect on the notes in these two poems as the main issue of this research, were considered by the authors. Also, comparing and adapting the characteristics of the same story and analyzing their content and expressing the way of describing love in the love poems of Jami and Attar and comparing their literary functions were also considered and that: 1. The way of describing love in the joy of the romantic poems What did Attar have in the progress of the story? 2. Differences and verses of the poetry of 'Rabe'e and Baktash' and 'Salaman and Absal' of Jami are the main characters in the description of the characters as well as the lyrical atmosphere of the story. The famous poetry of Rabe'e and Baktash is from Mantegh Al- Teyr of Attar, a well-known poet who has no knowledge of his life other than what Attar has revealed in his book. In the earliest remark of Persian poetry, Lobab al-albab, it reads: "Rabe'e Bent Ka'b al-Qozdari, daughter of Ka'b, although she was a woman, but laugh at the grace of the men of the world. Horseman both the square and the governor of both expressions, were able to grasp the ghastly order, and in the Persian poetry, highly skilled, with a high degree of intelligence, a sense of coherence, and continuous love, you lost control and witnessed. It has been quoted that, as Sheikh Abu Saeed heard his story, he said: "I reached out to me and asked daughter of Ka'b whether he was a mystic or a lover." They said that the poetry that flowed on his tongue was that it was not possible to create such a burning sensation in virtual love. (Aowfi, 1930, p. 2:16)
Jami - the poet and mystic of the ninth century poets - in the book of HaftOrang, he has regulated the story of Salaman and Absal. In fact, this story is a codenamed story written in the third century AH by Honayn Ibn Ishaq from Greek to Arabic. (Rozatian, 2009: 98) He lives in Greece, who does not have a spouse and child, but has a wise and wise man. After having the wise guidance of a boy and giving young and beautiful Daya for his education, until Salaman (the son of the King) and Absal (Daya) are very Age difference, and with enduring difficulties, the father of the two he does. Absal will burn in the fire and the wise will solve the problem and make an example of Absal to relieve the pain of salvation and then destroy that face and slowly speak of Venus until he salutes his love to Venus and ultimately With consent of the king's father to Salaman (Ashrafzadeh, 1382: 22). These two stories have many mystical aspects that are controversial in their place, although in the first story of Rabe'e and Baktash, they love excuses and do not get together, and the king's daughter, She loves the servant, but Absal, the dare loves the king's son and hugs him hard.
  This research studies the richness of the two great poets, Attar Neyshaburi and Abdul Rahman Jami in his two novels, Rabe'e and Baktash, and Salaam and Absal, with a descriptive and content analysis approach, and also explains the delicacies of two stories and methods of analysis. The storytelling in the verses of Rabe'e and Baktash, and Salaam and Absal is based on a comparative approach. In this study, the authors first examined the rich manifestations of two stories from different angles, and then pointed out the differences and similarities of the tow Story.
  In the literary works of narrative structures, various meanings are brought into the mind. The narrator, in turn, employs structures in his work that are diverse and able to affect the audience. In the middle of the story, the letter begins with the father of Rabe'e: One King was a great supporter ... this is a steady at the start The story has a twofold impact on the reader. The King was the epicenter of the city of Balkh and its name Ka'b. Very adorable, just and awesome, so that at the time of his rule, not only did people have no problems at all, and they were peaceful alongside. Jami also begins the story with Salaman's father, a powerful King. This power and enthusiasm in the story tells the reader hard to curious who this Alexander is, who is the crown? Then he gained this greatness: the father of Salaman is a King who lives in Greece and, like Alexander, has a throne with fairness and dowry.
In each story of space and color, the relation is closely related to the element, since the description in the story focuses on the creation of a particular mood, and the element "is the emotional state that shadows a part of a literary work or all over it" (Abrams, 2005: 19). This emotional atmosphere is strongly reflected in Rabe'e and Baktash's stories. Because when Ka'b's death comes, his daughter will give Rabe'e to Hares, his son, who cares for him very well and says that many kings chose him from me, but I was not satisfied. In the story of Salaman and Absal, He was deprived of him to Daya; he is very beautiful and his name is Absal, and it is about twenty years old. Daisy kindly absorbed and saluted Salaman, and that Salaman reached the age of puberty, was a very beautiful and enchanting boy who fell in love with her heart, but she kept hiding this love forever and tried to use her every means. He fell in love with him so that he became very enthralled and enthusiastic.
In the poems of Rabe'e and Baktash, both lover and lover die both of them, as Hares, brother of Rabe'e, imprisoned him in the bathroom and handed over to Minister, slamming his arm and then murdering Rabe'e. Baktash, who was imprisoned in the well, was rescued after a few days. He first went to Hares, the brother and murderer of Rabe'e, and cut off his head. Then he went to the tomb of Rabe'e and swallowed the stick in his liver and gave life to the soul and joined the beloved. But in the reign of Salaman and Absal, Salaman was saved by Wise, with Magic, and surrendered to his father, but Absal gave up on fire and life to the soul. Therefore, contrary to the story of Rabe'e and Baktash, Absal burns in fire, but Salaman will be freed from the death of the wise father and wise.
  Salaman and Absal is a rational and allegorical story that has been introduced in the mystical literature of Iran. The king's purpose in this story is the first reason that he is responsible for the management of all things. The unassembled word of the body and the outside of the womb, without any combination, makes the foot in this world, and the wise, which is the grace of grace, creates him. Absal is also meant to be a lustful person. They belong to each other and they are often caught in the strap. The sea cup is a symbol of animal lust, Venus is also a symbol of excellence and perfection. The story of Rabe'e and Baktash Attar is also a fairy tale of love and mystery. Rabe'e grows with his brother (Hares) after his father's death. The same fraternity that brings him to perfection and places so much in his education that he is even a partner with his brother in the affairs of the kingdom. But this Hares, is so angry with the smallest news, and when he comes from the love of Rabe'e and Baktash He gets acquainted with the commandment of his sister Rabe'e's murder, and although he sacrifices his action to Baktash, Hares, the brother and murderer of Rabe'e. Attar describes the scenes very beautifully. In this story, the main hero, a girl who falls in love, is a symbol of her soul and beloved, Baktash, a cipher of the human soul that begins with the end of this story, describes the stages of the soul-Rabe'e salvation-and the evolution of the soul-Baktash-.
From the comparison of the description of the states of love in the romantic verses of Rabe'e and Baktash of Attar, Salaman and Absal' of Jami, and given the mysterious nature of both stories, one can conclude that it is possible to achieve spiritual perfections and to ignore erotic desires, despite the many difficulties. In the process of the story, we find that the testimonies begin with earthly love, and with its problems, such a Stay away and sacrifice, it continues, but in both stories the way of describing love is entirely with its codified and allegorical aspects as a pure and heavenly love and signs It ends like divorce, separation, restraint, avoidance of pollution, and finally the death of a lover and beloved or one of the lovers. There are many similarities in these two stories: the father was both prince's character, one king of Balkh and the other king of Greece. Rabe'e and Absal are both loyal to love. Rabe'e is destroyed by his brother, and Absal burns himself in the fire. There are also differences: Rabe'e and Baktash do not go together. There is no marginal love in Rabe'e's story, but there is such love in the story of Salaman. Also, improper judgments, spying and informing Baktash friends make their letters fall into the hands of the brother, and anger takes the place of love for the brotherhood.
 
 
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In this paper, the authors studies images of adaptation work’s based on the theological theory of Gilbert durand and are expresses The differences and similarities of the imaginative images by the Origin effect in conveying the intended meaning. Using of this method helps the viewer with regard to the structure of the images of  the work, understand the factors that influence their formation. Depending on the structure of the images of the work and  recognizes and demonstrates the impact  of society on the others imagination of the time of the creation of these works. This research will answer these questions. What are the differences between the adaption work images and the original work images? how does the concerns of writers affect literary work? these fear, which are reflection  of the conditions of society in the author's imagination. How do they appear?

Critics and scholars studies the imagery of literary works with the method of critique of the durand. Ali Abbasi has numerous books and articles in this method. Including the book »The Structures of Imaginary Anthropology« (2011), which is a brief introduction of durands theory. His essay "Classify of Fiction by New Literary Criticism" is a summary of this book. Abbasi reviewe and categoriz  the images in two diurnal Regime and nocturnal Regime on " the study of Structural and Imaginary of Mohammad Reza Bayrami's Works" and "The Study of Structure, Thought and Imagination in the Works of Fereydoon Amouzadeh Khalili". Also, in his essay "Reality and Imagination in Celluch's Novel" (2008), he explores the concept of time through symbols in the novel. Negar Mazari in his article "Studying the Concept of Time in Proust Imagination, Relying on the Role of Historical Images in Cambrai " (2012) and "Investigating Fear in Three Drops of Blood of hedayat and Anti-Ethics of Gide based durands Criticism" (1394) It studies the images based on the theory of the durand. article of Mohammad Nabi Ahmadi's  "The Fear of Time and Overcoming it in Poetry of Resistance Poets (from a Psychological Perspective)" (1396), an article entitled "Analysis of the Imaginary Forms of Nasrallah Mardani" According to Gilbert Durand's Theory (1396) by Abbas Mohammadian and Sara Pourshaban's essay "The Analysis of the Imaginary Structure of the Thirsty Wall and the Masnavi Wall Based on New Literary Criticism" is also justified in the new literary criticism Because in all of them, writers studies the artistic imagery of the author in literary works. But the researchers in this paper use of this theory to compare the postman's fictional images with different culture with the original work and show the difference in the use of images.

The article studies with method of Description and analysis, the literary adaptation Dariush Mehrjui  in Postman's film from the German drama of Woyzeck, by Karl Georg Buchner. Based on Gilbert's durand theory of imaginative images that categorizing the images in two diurnal Regime and nocturnal Regime, the evolution of images expresses the adaptation effect to the original work and the role of society as an influential factor in these changes.

In Postman's adaptation, the symbol of progress and the inner courtyard (symbols of the imagination) appear more in the form of trees and forests, and in the Woyzeck drama in the form of trees, woods, and crosses. In the diurnal Regime, animal images have a negative value in both works. all express the inner fear of the fictional characters, but in Postman's film, animal images creat a calm and Middle space with combin of the positive symbols. The symbols of darkness in these works are seen as lightning, dark night and blood. Symbols of fall are in works in the form of vertigo, blinking and fall. Infront of these images are positive images of the diurnal Regime (spectator and divider). The spectacular symbol at the postman has more images (white flowers, wheat, sky, and light), but in Woyzeck summarizes in his eyes. The separation symbol in films is always accompanied with the animal symbol and the dark symbol that reducing the author's fears.

In study of the imaginative imagery of Postman and Woyzeck works, with gilbert durand critique result is that Mehrjui in the postman use of nature and natural symbols, He overcomes on the fear of time and change with the imagination of nocturnal Regime (trees, flowers and forests). Control the fear of negative symbols (animal, fall and dark) by contrasting them with positive (spectator and separator) symbols but Buchner does not use of nature in Woyzeck and display animal symbols in the form of animal sounds and verbs. In his work the symbols of diurnal Regime are major of the symbols of nocturnal Regime with negative evaluation and This creates a dark space in the work. Undoubtedly, the westernized society of mehrjoyi is better than the exploited society and the conflict in Woyzeck and This lessed the author's panic and reduced the intensity of the anger and fear of the original work and Finally the images are positive. Therefore, the conditions of society and the fears are the most important factors influencing in the creation of positive or negative images in two literary works.

When learning a foreign language, the learner will always deal with different challenges and it is very difficult for him to make significant progress without being directly assisted by experts of that language. This article will try, keeping in mind the abovementioned point, to introduce the concept of “text corpora” and the ways they can be used in teaching a specific language to have the learner overcome such challenges. “Text corpus” refers to a set of digitalized oral and written texts that helps and assists linguistic researchers in their research. Of course, the author of this article does not intend to discuss the changes and developments of language, rather he intends to demonstrate that learners can employ and utilize text corpora to overcome many of the challenges of learning a new language even when isolation of the experts of the language. In order to do so, we will discuss the process through which a text corpus is developed and how to search within it using Corpus Query Language (CQL).

Badia-Al-Zaman Hamadani one of the greatest authors in Abbasids age, innovated a new technonogy which is attended by other authors of that age, even by the authors and poets of the next ages. The interest in innovative technology Badia-Al-Zaman not limited to the Arabic language but some of the authors and poets in other languages follows him  and wrote valuable works Including Saadi's Golestan book. Saadi influenced in compiling this book from the Arabic Magamat, to the point that some critics consider the introduction of Golestan in a composed way it's a perfect Maqameh. This article seeks to adapt to the Sa'di's Golestan into Magamat Badia-Al-Zaman compare the similarities and differences between them and to clearly express. Based on the results obtained, Shared cases between Magamat and Saadi's Golestan are twelve and difference cases are seven. Thus, with regard to cases more common than differences, Saadi follow style of Magamat, but this influence is not merely imitating Saadi in Golestan genius is clearly visible.

Molavi has not lost the way of mystery, hence Quran verses and hadis and religious narration reflect the great works especially in Masnavi. This study is the religious narration of Balal due to Arabic books , Seyreh and history which refers to Molavi's Masnavi, then changes which show transferring of simple news to readable texts with different meanings by analytical description, to analyze the comparative principles (French school), due to Islamic approaches, he has come to this fact that Molavi has added some points due to increase of text, inspire the life philosophy, adaptation, translation, and interpretations of main tale which caused to change characters and their importance, changing contextual text, inter-textual relations and language functions. Molavi's changes refer to form and content, the poetic format of Masnavi is to make piece, to make story longer, besides plot(Moazenio Beheshti as Balal), the separate interpretations are figurative, to change the main character of story, using conversation, dream interpreter of Abubakr which shows his honesty in knowledge. The expression of love in Manavi is part of increase gashtar, to reflect Molavi's thought and poetic art.

The semiotics of experience is the outcome of a semiological turn toward a phenomenological perspective. This approach brings along a comparative semantic system. In the comparative system, actions as well as external and possessory values are substituted with the internal, passive, transient, emotional, and perceptual-sensory ones. In this system, the actant does not seek to conquer the world; rather, s/he is in search of harmony with the world. In other words, s/he tries to domesticate and internalize the actions and values to establish a close and internalized relationship with them. Therefore, the actantial system needs to be replaced with the passive one to make comparison possible. The main questions of this article are to determine how and under what conditions these values are formed, and how they can be utilized for cultural transcendence and development. In fact, the present article aims to examine the conditions of comparison as well as the realization of the semiotic system of experience in Nader Ebrahimi's A Quiet Romance</em>. The main hypothesis was that the involved elements reach a state of mutual comparison through a corporal process, and interaction with perceptual-sensory competence. Such a comparison will lead to the development of meanings and values. This study managed to explain the necessary conditions and requirements for establishing a semantic system of "comparison".

Reviewing several types of sentences in Hafiz’s sonnets and comparing them with poems composed by other poets such as Salmān Sāvuji, Nāser Bukhārāʾi, Khājūi Kermāni, etc., the relation between the music of poetry and the arrangement of different sentences have been explained in his sonnet in present study. His sentences have their own special music along with the music of sounds, letters and words. It can be said that one of the syntactic capabilities that makes Hafiz's poetry more prominent among the works of other poets is his ability to use the variety of sentences in the general structure of the sonnet. In this sense, not only the use of various sentences, but the way sentences are arranged makes the poetry musical. Comparing Hafiz's poetry with those of the others makes it possible to understand that Hafiz has rarely used three consecutive declarative sentences with a monotonous rhythm. He uses, in such cases, imperative mode to reduce the uniformity of declarative sentences. Those Hafiz's sonnets have been examined, in the present research, of which there are similar instances in the works of his contemporary poets in terms of rhythm, rhyme and order.

One can find out the similar lexicon and conceptual aspects by comparing the Arabic and Persian separation poetries. Persian poets derived some of their poetic concepts from Arabic poetries before and after Islam. The present article initially studies two Arabic odes: one for Imra’ ul-Qais – before Islam – and the other for Boosiri – the poet after Islam. Finally it analyzes both languages separation poetries and their affections on one another. It could be resulted out that the frequency of some lexicons and concepts are more applicable in both languages such as beloved, hometown, camel, caravan, desert, tear, sorrow, cry and so on.

The aim of this article is to criticise and analyse the above mentioned play.The focus is mainly laid upon the presentation of the necessary elements in a theatrical text and their representation in the play written by Pari Saberi. She has tried to add some elements and characters into the story, or alter the story in a way which is more agreeable with today’s individual and social life. For this purpose she has made the story and the characters seem Iranians.
The result shows that she has been able to proceed according to the principles of play writing and by some changes in the text has managed to veer the play out of monotonous state.The play has been formed coherent and consistent and well organized, but creating the right atmosphere and character development still needs some attention.

This article aims to investigate the sample of the frustrated intellectual in two plays of Oful (Decay) and A Day of our Time by Akbar Radi and Saadallah Wannous respectively. The method of this comparative study is based on the American Approach. It was found that both authors were particularly fascinated to the subject of the intellectual. Oful tells the story of an engineer who decided to fight against the feudal system, but he was defeated. A Day of Our Time is the story of a teacher who tried to oppose the prostitution in the school but ended up with the realization that his beloved wife was also involved in prostitution. Accordingly, they both found suicide a perfect solution to get rid of their problems. Both of these dramas represent the same subject: there is a woman standing behind the two champions, both of the plays depict a very dark atmosphere; Radi tries to express the intellectual's problems and Wannous depicts the post-modern world in which the man wanders off.

Bazel Mashadi′s Heydary Attack is one of the earliest and most famous Attack epics written in the twelfth century. Bazel exploits the style and format of Shahname in his masnavi, composed in twenty to thirty thousand verses. The poet, after chanting the praise of God, prophet and his successor (Vali), verses the history of Islam beginning from the prophet’s mission (Be’sat) to the order of killing Usman. However, the story of his death remains unfinished. After him, several people continue his work, but among these notes, just Fendereski's epopee is joined to Bazel's masnavi, by the poet Najaf in 1135 AH. Najaf, by composing some more verses, blends the two into a single set. This work, like other epics following Shahnameh, is highly influenced by Ferdowsi’s style and language; sometimes, even, this effect on some stories of Heydary Attack appears to be on an imitation stage. In this paper, the authors try, by a comparative analysis of the two epics, to show how Bazel uses Shahnameh as a model.
Bazel Mashadi′s Heydary Attack is one of the earliest and most famous Attack epics written in the twelfth century. Bazel exploits the style and format of Shahname in his masnavi, composed in twenty to thirty thousand verses. The poet, after chanting the praise of God, prophet and his successor (Vali), verses the history of Islam beginning from the prophet’s mission (Be’sat) to the order of killing Usman. However, the story of his death remains unfinished. After him, several people continue his work, but among these notes, just Fendereski's epopee is joined to Bazel's masnavi, by the poet Najaf in 1135 AH. Najaf, by composing some more verses, blends the two into a single set. This work, like other epics following Shahnameh, is highly influenced by Ferdowsi’s style and language; sometimes, even, this effect on some stories of Heydary Attack appears to be on an imitation stage.
The authors intend to compare different parts of the two works and show that whether the author of Heydary Attack is affected by Shahnameh, and if yes, how and in what parts of his work.
The comparison of different sections of the two books shows that Shahnameh has influenced Bazel Mashadi′s Heydary Attack in the following parts: 1. Story: Sometimes, Bazel takes advantage of a complete story, some of the scenes and events of the story or heroes’ dialogues of Shahnameh.
2. Compound structures: Ferdowsi uses a variety of additional, attributed and verbal compounds in Shahnameh. The beauty, well-combination and innovation of Ferdowsi's epic poetic compounds lead the next epic poets like Bazel to copy them in their works.
3. Verse: Sometimes Bazel Mashadi imitates a poetic style of Shahnameh. Even, one can say that he is unconsciously influenced by Ferdowsi′s epic poems due to lots of times he reads it, and as a result, his versification becomes like Ferdowsi’s.
4. Praising God: It seems that Bazel, in his praise of God, in some cases, is also influenced by Ferdowsi′s God praising; sometimes, he repeats some words of Shahnameh, and sometimes, he gets the essence of Ferdowsi′s way of praising God.
5. Rhyme pattern: In respect to the use of words, especially rhyme words of verses, Bazel even adopts Ferdowsi’s rhyme patterns or applies those patterns in his poesy. Sometimes, such rhymes are accompanied by row lyrics employed in Shahnameh.
6. Type of narration: Ferdowsi gets the prose stories from other people, such as the peasants of the feudal class, some writings well-known as Daftare Bastan ‘the ancient pamphlet’ and others whom he called ‘sage’ and ‘honest’ individuals, besides Magh, Azadsarv, Bahram, Shadan Borzin and Old Shahoo as specific persons mentioned by Ferdowsi. Bazel, too, versified the prose book Me’raj Alnabovvah & Madarej Alfotovvah written by Farahie into Heidari Attack, besides the narrative of the stories from the point of view of the wise and the honest.
7. Image: Ferdowsi creates various descriptions and images in accordance with themes and scenes. In this regard, ‘exaggeration’ is one of the images that Ferdowsi benefits professionally and abundantly. These exaggerations and hyperboles have influenced Bazel Mashadi and other epic poets after Ferdowsi, and they use such images with no change in their books. Simile and epanados??? are other Ferdowsi′s images imitated in Heydary Attack.
8. Proverb: One can find proverbs in Bazel’s book similar to Shahnameh’s proverbs in terms of content and vocabulary, most probably gotten from Shahnameh.
9. Allegory: Bazel uses Shahnameh’s allegories; however, sometimes he expandes the concise allegories of Shahnameh into details.
10. Slandering women: Sometimes Shahnameh’s heroes insult women through stories. This theme is seen in Heydary Attack too. For example, in the dialogue of Amr and Sufyan, Amr says men are truthful, while women are cunning and deceitful.
11. Sunrise and sunset: Ferdowsi in Shahnameh describes very beautiful sunrises and sunsets. Bazel and other epic poets following Ferdowsi, also, pay attention to these descriptions and use them in their writings.
12. Destiny: Ferdowsi attributes various traits to time and fate including instability, whims, unkindness and ignorance. The same attributes can also be seen in Bazel′s Heydary Attack.
In the present study, some aspects of Shahname’s influence on Bazel′s Heydary Attack were examined. However, considering the size of the two books and broad area of investigation, the authors believe that more research is needed in regard to the influence of Shahname on Persian literature in general and on religious and oral literature in particular.