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

Afghanistan's contemporary literature, to put it bluntly, was formed after the Marxist coup in 1978. The valuable themes of resistance found in the poems of enduring poets who advocate the pride and dignity of the nation have been passed down to Afghanistan. The coup, due to its Marxist nature in Afghanistan, has been the source of all political, economic, social, cultural, and other developments in the last three decades. After the coup, the people of Afghanistan staged a massive jihad and widespread resistance against the illegitimate and occupying Russian government following the entry of the former Soviet Red Army into their country. The companionship of poets and writers with this socio-political movement marked the departure of Afghan poetry from the stalemate of content and the emergence of a steady stream of poetry in support of the popular resistance against the Russians. After this period, some individuals within the country expressed their idealistic ideas through poetry, while others were compelled to emigrate due to their Islamic beliefs. Consequently, the two main dimensions of Afghan poetry, namely the poetry of resistance and the poetry of emigration, began to evolve. The study of the works of Afghan resistance poets explains and interprets the principles and components of sustainability in the poems of Afghan poets. The main purpose of this study is to investigate the concept of resistance and the thematic and semantic highlights of Afghanistan's sustainability poems. The study aims to explore the fundamental principles of resistance by analyzing the poems of prominent poets using a library-based analytical descriptive method. Topics such as fratricide and war, condemnation of leaders and politicians, protests against the situation in the country, descriptions of exile, and expressions of displacement and deportation appear more frequently in the poetry of Afghan poets, especially in the works of two contemporary poets, Abdul Sami Hami and Seyed Aboutaleb Mozaffari. Religion and its manifestations, which are the most important sources of inspiration in the literature of resistance, have enriched the content of Afghan poets' poems.

The collection of stories from War City, which was discussed in this research, won the title of the best book of the year of Holy Defense (2003) and the first place for the best book in 20 years of writing stories of Holy Defense. In this research, the short stories in this collection, which reflect the events of the war days and to some extent the conditions of the warriors, have been discussed from a narrative perspective and analyzed for content. With a narratological view emphasizing the structure of the narrative, he tries to delve beneath the surface and structure of the text to reach its inner layers. The narratological analysis of the collection of stories in War City shows that Ahmadzadeh, in this work, uses techniques and makes intelligent choices of point of view to expose the reader to the challenges of war from a new perspective each time. In fact, Ahmadzadeh has demonstrated his skill and success by opting to rarely use the second person point of view in narrating three stories from this collection. The analysis of the content of this work also revealed that the author occasionally incorporated unique and diverse themes from resistance literature, including showing empathy towards the enemy's families and discussing war tactics in the short story. This research is based on library research and descriptive analytical methods.

ars are violent, cruel, deadly, and destructive. They have a bloody and destructive nature. If it is the only poetry of war, it has little to do with mystical mysticism. Mysticism does not align well with the violent and cruel nature of war. The emergence of each of them is related to a specific spirit - and also different - mysticism is more suited to a soft and calm temperament, while war is associated with violent and oppressive behavior. In the poetry of war, a blessed and useful connection is formed between the two realms of mysticism and war, which, ironically, also influences the outcome of war. Studies show that war poets express the emotions and experiences of warriors, martyrs, freedmen, missing, wounded, and martyrs. They also depict their status and position as they navigate through the seven valleys of their journey. By doing so, they guide warriors to adopt the roles of seekers and mystics. Mystics and seekers have unique states and authorities that differ from those of their predecessors. Their mystical method is very efficient, intensive, and dynamic.

The problem of this research is to propose the role and function of war literature in providing documents for social analysis and policies. For this reason, he shows examples of this function of the literary text in the three topics of "social status of people in southern cities", "consolidation or threat of national identity" and "women". In order to investigate the issue, some examples of stories that deal with these issues have been selected from among the statistical population of war novels, and the content of their narratives in the face of social issues related to the mentioned issues has been counted. The research shows how the narrative of the war has been able to chronicle the daily encounter of the people of southern cities with the social issues caused by the war, and from this point of view, the expert audience gets to know all kinds of problems and social issues caused by the war and solve the problems. And social policies take advantage of it. In the selected narratives, social transformations and instability in the foundations of families due to war, social relations between people and people with the government, displacement and migration due to war and its social consequences for displaced people and destination cities, attitudes towards women and ethnic identities and their impact It stands out from the war.

War is considered as one of the main themes of the lyrical poems in Persian literature, which sometimes makes the atmosphere of the work close to epic works. Therefore, the aim of this study was to analyze the use of the martial theme in lyrical poems. Based on this, we sought to answer the following questions by analyzing twenty lyrical poems written from the 5th to the 8th century: (1) what is the reason or motivation for using the martial theme in lyrical works? (2) How does the war in lyrical poems differ from other works, especially epic ones? (3) How has it been used? The results demonstrated that the first Persian poets of lyrical poems had paid the attention to the martial theme, and generally, this theme can be seen in eighteen lyrical poems. War which had the decorative and fundamental uses was repeated in the lyrical poems. Making love glorious and magnificent, being affected by epic works, competing with Ferdowsi (as a Persian poet), allocating love to the courtly class, adding more details making the story exciting, testing the worth of the loved one and performing a step-by-step ritual of the initiation in order to be honored a wife are among the reasons for using the martial theme. The intrinsic motives of war are one of the most important features of using the martial theme in lyrical works, and accordingly war is caused by love.

Trauma is a theory in psychology referring to any psychological pressure which the human mind is unable to accept and analyze it. The wounds inflicted on a person's mind would leave a deep impact on him and may lead his life and destiny to a different direction. There are different factors can cause trauma. One of them is war events which has an enduring effect on human's psyche. Therefore, due to the numerous wars that have plagued our country throughout the history, especially the eight-year imposed war, the literary narrative of trauma has found its way into the works of some Iranian writers.The present research was conducted in an analytical-descriptive way and it aims to investigate the literary expressions of this psychological damage in the novel "Zamin Soukhteh" by Ahmad Mahmoud and analyze the damage caused to the psyche of each of the characters. In this regard, first, we have discussed the theoretical issues about trauma, then we have analyzed and examined its effect on the characters of the mentioned novel. At the end, it was concluded that the reaction of each character is different from the other; In this way, due to the psychological wounds inflicted on them, the "Shahed" character is hospitalized in a mental asylum; "Nene Baran" distances herself from his previous personality; "Narges" falls into acute depression and "Golabetoon" completely loses his emotions. Obviously, in addition to the important fictional works in praise of the heroes who appeared in the holy defense, this novel can also be worth studying from the perspective of theoretical framework.

 KushNameh, Iranshah Ibn Abul khair "s work is one of the great epics of the 6th century which revolves around the adventures of kush pil dandan, Zahhak "s nephew. This epic books contains various contents about the history, manners. customs. culture and science during the period of Zahhak " rule and fereydun period. This article intends to answer the questions what was the war tactics and war strategies in the Kushnameh and compare it with historical texts. The purpose of this article is to examine the issues related to the war in KushNameh with an interdisciplinary approach and historical perspective

 The present study is based on the descriptive – analytical method in the field of library studies

 The battle formations and tricks of war in KushNameh is correspond with Historical texts

 The results of the research indicate the battle strategies in kushnameh match with the war and its tactics in ancient Iran in historical writings. This shows that Kushnameh creator used the historical and literary texts of ancient Persia

The book Adab al-Harb wa al-Shuja 'is one of the literary and historical works that, in addition to providing valuable information about war, is also very valuable in examining issues related to the ethics of war. This book was written by Fakhr-e-Modbar(late 6th century - early 7th century . The main question of this research is: Which of the morals of war and its moral do's and don'ts has Fakhr Madbar paid attention to in Adab al-Harb and al-Shuja'a? Based on this research, which has been done in a descriptive-analytical method; The preference of peace over war, adherence to and respect for peace and non-breaking the treaty, treating prisoners of war well, consulting in war, not belittling the enemy, respecting the rights of soldiers and disrespecting them, refraining from insulting, Confidentiality and concealment of military secrets, care and observance of civil rights, observance of civilian rights, prohibition of damaging farms and fields, avoidance of fear and despair are considered by the prudent pride of war ethics.

Sociocritique which insist on accompaniment of form of expression and content is in contrast to classical method of sociological studies which implies literary work as a social statement. Sociocritique is a way to achieve content through the complexities of language. The works of Georges Perec, full of linguistic games, are valuable for sociocritique. Because they use language to deliver concepts of author. In seven works that are discussed in present paper, concepts will be considered through the mathematical rules, the rhetorical techniques and the intertextuality. All of these technics are considered like important structural elements in sociocritique. In this way, we will try to find reasons for using them in translating meaning by finding examples of three techniques mentioned. The purpose of this study is to achieve a common concept that has been expressed in all of these works : Perec’s social concerns, which are highly inspired by the War and the crisis of identity in a society with absurd values.

For conceptual metaphors, Lykoff considers the two domains of origin and destination, which in the metaphor of "love is war" is the origin of war, which is used as a destination domain to give meaning to the concepts in the category of love. The aim of this study was to investigate the conceptual metaphor of war and love in Simin Behbahani's poems by descriptive-analytical method with the aim of recognizing the concepts related to love. The results showed that Behbahani has considered the attributes and actions for the lover and the beloved, some of which are specific to one party, some of which are common between the two parties and some of which are necessary for each other. These attributes and actions include psychological, material, and physical consequences. In this metaphorical realm, although in most cases the lover is the victor of the field and the lover is the loser, but in some cases Behbahani, by deconstructing his style, puts the lover in a weaker position and this causes a higher frequency of common themes between lover and Has become more beloved than other actions. In general, most of the tricks and acts of war are for the beloved, and the most results and consequences of the war, especially in the part of physical results, are assigned to the lover.

From the time when man, by forming a monolithic society and passing through cave-dwelling beyond basic needs such as food and clothing, thought of expressing his feelings and emotions and relieving pain, he found music to be the best means for this purpose. The important point is that gradually some people who acquired talent and skills in this field found a place and became an integral part of society. In the meantime, what is very important is that music has also been used in battlefields,and on this basis, one of the important issues is what musical instruments have been used on the battlefields, and more importantly, what impact and importance these musical instruments have had in battles. Also what was the role of musicians and musicians in military formation and arrangement.  Due to the prestige that music had in custom and among religious teachings; The musicians were introduced as court attendants. It is important to note that some musicians and musicians were on the same level as the upper classes of society and took an active role in advancing cultural, religious and even military goals among the Iranian dynasties.

In this research, by studying the narrations of Greek historians, religious books and the writings of some historians of the Islamic period, it has been tried to study different musical instruments as well as the use and ability of musical instruments in Iranian military battles and encounters with enemies. Also, to advance the research have been used, poetic and literary works and material references, as well as abbreviations and musical instruments that have been reflected in the research texts. Thus, through library studies, by arranging and processing the available information in a descriptive, analytical way, the research has reached results about the importance, position and capability of music in the battles of the Iranians.

One of the most important issues in the history of Iran is the study of how martial music and musicians helped the Iranian government in military conflicts. Also, according to the numerous wars that existed in different eras between Iranians with Eastern and Western enemies, what was the use of different musical instruments in organizing forces, conveying concepts and even achieving victories and successes. Martial music is a collection of special songs with symbols used on battlefields to convey a message or command that is meaningful to the commanders and soldiers of the same army. Also, military music is the music of awakening, movement, work, effort and war, and has aroused a sense of national pride of the troops. In ancient Iran, different musical instruments were used in ceremonies and battles, which according to the examples and in the written and material works can be said that in ancient times, the musical instruments used in battlefields were more than wind and percussion and the Iranians (especially in the Parthian era), unlike the Greeks and Romans who used wind instruments, used more percussion instruments such as drums. Another instrument that we find along with many drums in the writings of ancient historians was the kos or kust and trumpet, which were especially effective with the horn(hornpipe), especially to signal the army to start a battle or to enter a part of the army into battle. One of the first functions as well as the most important effects of epic music; It was to motivate the troops in the resistance against the enemies, and in other words, this tool was so strong in motivating and encouraging the troops to face the enemies that one of the tricks in weakening the troops' morale and defeating them was first to silence the music and then to overthrow the flag. Another military goal that music provided on the battlefield was to intimidate the opposition and exaggerate their own military capabilities. In fact, one of the uses of violent music such as drums, cymbals and trumpets in wars was to frighten the heart of the enemy and the more deafening these sounds were, the more useful the income of their own troops was in frightening the enemy and disrupting their order and concentration. Also, the important applications of music in informing and sending messages to the troops should not be neglected, because through this, the troops became aware of the commands and orders of the commanders, and based on this, the movements and actions of the division were organized in a regular and fast manner. In ancient Iran, during war trips, musicians who were organized as a group were among the troops and held special positions and duties in the military formation. In fact, according to the available reports, singers and musicians had a special place among the troops, and when enumerating the special and close relatives of the king, there was talk of three classes, the first two being soldiers and border guards, and the third, next to the army; were singers and musicians.

In the ancient world, in addition to feasts, music was also used very seriously in battles, and the soldiers used musical instruments in military exercises until they faced the enemy army. In fact, the soldiers woke up to the sound of an instrument and lined up, attacking, besieging, or retreating to the sound of music. In this way, the commands and orders of the commanders were heard by the soldiers in the form of military voices. What can be seen from the documents and material and written evidence, musical instruments had a special variety in the history of Iran and in expressing each message and conveying the meaning and concept of a particular instrument or instruments, it was used individually or in unison. And especially because of the existence of minstrel and the importance of epic narrations and the fact that the poems that told epic stories were accompanied by music, musicians and singers had a special place among the troops and the musicians and singers formed a certain section and member of the body of the Iranian army. These people tried to prepare the soldiers to face the enemy and to raise and strengthen the morale of the troops, and with their terrifying songs,were also effective in weakening the morale of the enemies.

War is one of the most violent and harmful phenomena for societies and nations. In addition to the violence and psychological damage of war, the issues of stability and defense of national unity and patriotic values ​​are among the important and obvious issues of war. The transfer of values, stability, resistance of the warriors and the brave men of Iran during the eight-year Iran-Iraq war, provide valuable experiences for children and adolescents. The history of Sacred Defense literature begins and continues from the first days of the war because the events of that time are present today and its memories and effects have remained in the minds, consciences and inside and outside of the generation that has reached the text of the events today. The resistance literature seeks to convey to the audience the human meanings of war or Sacred Defense. But, the main issue in this transition is to determine how the audience relates to these works because children and adolescents are far from the imposed war, at least in terms of time. Resistance literature commits itself to acquainting them with the sacrifices and resistances of warriors and to institutionalizing values, ​​such as endurance, self-sacrifice, empathy, etc. in them. The literary genre of poetry is a good platform for conveying the values ​​and concepts of war and resistance literature. Child and adolescent poets have made many references to war and the issue of resistance in their poems. It seems necessary to provide beautiful and objective images of war events and issues for this age group who do not have a complete experience and understanding of war events.                                                                            

The research method in this research is descriptive and includes content analysis. The method of collecting information is also in the form of library documents. Masoomeh Mehri's collection of resistance poems has been analyzed and studied in terms of rhetorical functions of the image.

The purpose of this study is to represent the war and its events to adolescents in the poetic illustrations of Masoomeh Mehri’s poems, one of the young poets in the field of resistance. The importance of presenting images related to the war, reflecting the sufferings, courage and perseverance of the brave men of Iran for the generation of children and adolescents and institutionalizing these concepts in the form of appropriate and imaginative images is a significant issue. The use of deep and inner imageries to connect the audience with the poems and internalize the concepts of war has required the poet to present and use effective images. Poetic images have been criticized based on the principles of rhetoric and imagery levels (introversion or extroversion of images, depth or superficiality of images).The research questions are: 1. what kind of images has the poet used to acquaint the adolescent audience with the concepts of war? 2. In addition to conveying the concepts of sustainability, have the poetic images been able to present an attractive and different image of war (reducing the burden of war violence) to the audience? And what is the function of each type of image in the poet's poetry?In the category of extraversion and introversion of images, the issues of superficial and deep images are studied and analyzed. The importance and application of this type of images in attracting the audience and institutionalizing the concepts of resistance and war for the audience including children and adolescents. In her collection of poems, the poet has paid attention to both types of images (deep and superficial). The poet's ability to use superficial and deep images appropriate to the situation of the child's audience is remarkable and thought-provoking. As the age of the audience increases, the poet increases the depth of the images. This can be seen in the book My Mother Iran Banoo. To be more effective, the poet deepens her poetry in terms of images and emotion. Another type of rhetorical images is the random image. Images that are formed through a deep and imaginative connection between phenomena in an abstract course and are exciting for the audience.

The results of the research showed that Masoomeh Mehri has used pristine and fresh images to represent and reconstruct the war and its events. All kinds of images of surface and depth, incidental and positive can be seen in her poetry. He has used positive images to express his national belief and patriotism, images that have both an element of imagination and emotion within them. It uses superficial images to describe the ugliness and cruelty and violence of war. Images whose emotional load reduces the violence and horror of war. In the collection My Mother Iran Banoo, Mehri depicts the beginning, the peak and the end of the war in 15 beautiful literary paintings. The poet's avoidance of stereotyped and repetitive images is the most important feature of this collection. The deeper we move the images from the beginning of the boards to the middle and the end. To the extent that it leads to the creation of amazing and random images. The sum of random and deep images has been used more than positive and superficial images. The reason for this is the poet's attempt to provide deep images of the war and to avoid repetitive and clichéd images. Using myths, historical sites (Alamut Castle), historical events (Mongol and Alexander invasions of Iran, burning of Persepolis) and referring to these events in the background, in addition to deepening the image, the poet provides the presence and participation of the audience in the poems.

The present article analyzes a Japanese novel, The Woman in the Dunes written by Kobo Abe. He has shown the effects of World War II, modern society, and human confusion in dealing with these issues. We learn about concepts such as identity crisis and alienation. Actually He puts each of his characters in a special and exceptional situation, the decisions made by these people in this situation, changes that occur in the quality of their lives and even the experience they gain from these changes represent the real crises in the society of that time. In this article, we have tried to analyze one of his novels, to find another kind of identity change. We intend to examine the emotional changes that occur to Niki Jumpei, throughout the story by semiotics of emotion to gain a model of this inner process of emotional changes that actually originated from the outside world and external pressures.

The components of resistance in children's literature are the most influential literary genre of any culture and nation. Children are one of the most vulnerable members of any society. Currently, due to the situation in Syria, Syrian children are facing many crises and social tensions; Hence, contemporary Syrian literature is also tied to it, and every poet puts freedom, resistance and oppression of children at the center of his poems. Hussein Habash is one of the Syrian poets whose beating heart could not stand the invasion of the souls and bodies of children, and he immersed the pen in the essence of his poetry to reflect this oppression in his poems. In this article, We intend to use a descriptive-analytical method to analyze the mental ideas of the Syrian child about the war and its effects on his soul and psyche in the collection of poems "Malak Tayer" based on the most characteristic concepts of resistance. The findings of the research indicate that the poet has reflected the element of child and the psychological effects of war on the child in the most artistic way in his poem, using the thought of time and with his leap towards the future. It illustrates a bright future for society by relying on the next generation. Another consequence of this article is that the poet depicts the psychological trauma that the child has suffered in the form of ironic words and concepts. Secondly, in depicting the oppression of the child and the pure world of children, he has used symbolic games and overturning the interpretation, and also the characters present in the poet's poetry are more of an external example than their unreality.

One of the salient features of Saadi's lyric poems is the abundance of words, compositions and images that describe violence and the battlefield. These words are usually used when portraying a lover or expressing a love state. Considerable use of words related to the battlefield and describing a violent, bloodthirsty, archer and warrior lover is an undeniable characteristic of Saadi's lyric poems and more or less classical Persian love poems as a whole. The abundance of such words and combinations related to war, including battlefield tools, description of the battlefield and poetic images and descriptions of such words and combinations in Saadi's love sonnets, deserves to be studied, pondered and analyzed from the viewpoint of various approaches. In the present paper, in an attempt to find the motives behind this, various fields of humanities including history, mythology and psychology have been used and the reasons suggested by the authors have been presented based on poetic evidence and the findings of other researchers of the field.

The present study is a qualitative library research. The researchers first extracted the data from the text of Saadi's lyric poems and then analyzed them using other sources. The purpose of this study is to determine the number of words, interpretations and images related to the battle in Saadi's lyric poems and determining what could be the reason for the frequent use of such words and interpretations and images. To date, no similar research has been conducted on the reasons for the abundance of war words in the structure of Saadi's love lyric. The closest research to the present paper is the paper of Dr. Hassan Zolfaghari entitled "Warrior Lovers in Love Poems and Folk Myths", which appeared in the bi-quarterly journal of "Persian Language and Literature." Excerpts from the book "History of the Body in Literature" authored by Seyyed Mehdi Zarghani et al. (2016) can further be considered close to the subject of the present study; However, in neither of these two researches, Saadi's lyric poems are not the main subject discussed. In the section on mythological backgrounds of this research, the paper "A hypothesis on the similarities between Anahita and the beloved of Iranian poets" written by Dr. Alireza Mozaffari, which appeared in the "Journal of the Faculty of Literature and Humanities of Mashhad" in 1995, is preferable; However, again in this paper, Saadi's lyric poems are not the main subject of the research.

Statistical scanning of this study indicates that in 637 of Saadi's sonnets, all words and combinations related to war number 1014 cases, of which the most repeated is the  source verb of "killing/murder", which along with its grammatical derivatives and synonyms is used 152 times as a whole; Images such as "killed by the sword", "killed by crossing", "killed by an arrow", "killed by a razor", and "coming to kill" are also included in the statistical data of this group. The next most frequent word is "blood" and its derivatives and illustrative compounds, which with 3 repetitions, is the most frequent word in Saadi's sonnets. The word "enemy" and its compounds, with 125 repetitions, has the third place, and the word "arrow" and its compounds, in addition to "lasso" and its compounds with 88 repetitions, occupy the fourth place. "Sword" and its compounds with 58, "Blade" and its compounds with 57, "bow" and its compounds with 49, "captive" and its compounds with 43, "shield" and its compounds with 38, "looting" and its compounds with 37, "injury" and its compounds with 32, "war" and its compounds with 31, "army and its compounds with 18, "chain" with 12, "arrow" and its compounds with 11, "navak" (a kind of arrow) and its compounds with 9, "khadang" (a kind of arrow) with 7, "armor" and its compounds with 6,  “joshan" (a kind of armor) with 5, "peeling" with 3, "weapon" and its compounds with 3, "dagger" with 2 "spear", "caparison" and "catapult" with 1 appearances are found in Saadi's lyric poems. To find the original motives behind the abundance of words and images related to war in Saadi's sonnets, the following items were examined: 1- Mythical backgrounds (the continuation of the old model of the goddess of love and war in poetry); 2- Manifestation of the political situation during the poet's life and his poetry, including the Mongol invasion and the Crusades; 3- The prevalence of pederasty in Saadi's time and the entry of the element of Turkish slaves into the social and literary contexts; 4-Association of meanings and symmetry, especially the two principles of "proximity" and "contradiction". The proximity of "sword", "razor", "arrow", "bow" and "shield" and the contradiction of "peace" with "war", "friend" and "enemy" are among the most frequent patterns of association of meanings in Saadi's sonnets.

In all Saadi's 637 sonnets, 1014 types of words and combinations related to the battlefield have been detected. Among these words, the source verb "killing" and its compounds have the most repetition. After that, comes “blood" and its derivatives. The words "enemy", "arrow", "bow", "sword", "razor", "arch", "captive", "shield", "plunder", "wound", "war", "army " ,"Chain ", "arrow ",  "navak"," khadang","armor","joshan","Peeling"," Weapon", "Dagger", "spear", "caparison" "catapult"  come in the next places. The main subject of this research is to investigate the reasons for the frequent presence of war words and images in Saadi's sonnet. In general, the reasons for the abundance of words related to war in Saadi's lyric poems can be presented as follows: A factor that has provided the ground for this fact is the existence of the goddesses of "love" and "war" in the myths of Mesopotamia, Iran, Greece and Rome, many years before the beginning of history. Furthermore, the pattern of the "warrior lover" is linked to the theme of pederasty and the presence of Turkish slaves in the cultural sphere and poetic atmosphere of Iran, especially in the centuries before Saadi and his contemporaries. Also, the political situation of the poet's time, and in particular the devastating attacks of the Mongols, has made the mental and poetic atmosphere of the country warlike. Finally, the two principles of "proximity" and "contradiction" in the association of meanings are also the reasons for the frequent presence of war words in Saadi's love sonnets.

One of the consequences of the eight-year Iran-Iraq war is the emergence of a branch of literature such as resistance literature. However, children and adolescents' literature as a sub-branch of literature is no exception to the reflection and impact of the war and like other cultural phenomena, it is influenced by political and social currents, so its roots should be examined in the social context of society. As an external factor, war affects the imagination, which is the most important factor in the creation of art, including literature. By division of images into night and day systems, the paper aims to investigate the effect of war on the formation of the author's imagination (Ahmad Akbarpour) and the creation of “Good Night Commander!” story based on the structures of the imagination system from the perspective of Gilbert Durand. However, the reflection of these images is examined in inducing the author’s message about the phenomenon of war to the audience, in particular, children and adolescents.

Children’s poems have been remarkably evolved within the last two decades. Some of the researchers believe that considering concepts in relation to war and peace in children’s poems within the years after war have been the distinguishing point in this regard. In this research, two hundred ten books including 1518 have been studied. The poems were composed by ten poets from the 2000s and 2010s. two hundred thirty-eight of them which indicated the concepts of war which have been analyzed from the view point of content. The results of the present research indicate that the poets of these two last decades have remarkably mulled over concepts such as description of military conflicts in Iran, especially during the war, liberation movements, religious wars, especially Ashura, family conflicts, tensions between children and society, animal conflict and the retelling of ancient myths. They followed a peace – based outlook through which reflected them in their poems.

In contemporary literature, concurrent with the emergence of the Imposed War, a new phenomenon takes place in fiction which is called War Fiction that reaches its growth, maturity, permanence to this day. The purpose of this study is to explore its ups and downs and transformations, with regard to the diversity and abundance of Holy Defense fiction. Ten selected works of fiction from festivals and from four periods of time, the sixties onwards, have been purposefully chosen and analyzed to present a historical image relating to the process of metamorphosis of Holy Defense fiction, employing an analytical-historical method with an emphasis on sociological elements. According to this investigation, the processes of transformation in political and social and historical realms can be observed in the historical course of the creation of works. In the sixties, some new authors, most of whom were passionate revolutionary youths, joined the class of Novelists. Most of their works were dominated by the religious insight affected by political discourse. For this reason, the first stories of Holy Defense Literature had a simple structure, because they relied more on content; but the content and form became more correlated over time. The novelist of the seventies, pays special attention to the consequences of war in the form of family ties and along with the subject matter of Holy Defense, different themes constitute the major theme in the work of novelist. Religious novels are also released in different subject matters and diverse forms. The most important achievement of novel writing in the eighties, was the dominance of critical view to the themes of war and Holy Defense. In the early nineties and afterwards, authors, are woefully concerned about the reminiscence of gallantry shown by martyrs and warriors with a different perspective. In the eighties and nineties, authors employ the subject matter of war as a means of portraying the social and philosophical realities and concerns of mankind. From the sixties to the eighties and afterwards, the course of the novel and the Persian story of the Holy Defense, have proceeded from holism to a more detailed view, in a gradual motion. The present study focuses on the relationship of this metamorphosis with political, historical and religious changes in the social context.

Motif is one the most important elements in consolidating narratives. It can affect the narrative both structurally and syntactically and due to repetition creates beauty, attraction and semantic salience in narrative situations. In epics, too, they are the links between the written epics, most of which are recreating the motifs of earlier works. They can be divided into main titles such as people, events, places, objects, concepts, and several subheadings can be considered for each title. The aims of this research are these: finding high frequency motifs in the selected epics, declaring their similarities and differences and specifying their effects in the processes and results of epics.

Analytical-descriptive in which poetic books such as Ghazan Nameh, GaoonNameh, ZafarNameh, HomayounNameh, SharafNameh and TimurNmeh were studied as the first step. Then their motifs were extracted and the most frequent motifs and their different subclasses were specified and named.

Motifs like causes of war, tact, tactics, treaty and message are the most frequent motifs of epic-historical works of this research. The motif of war with causes such as malice, Islamophobia, power-seeking and display of power is present in the works with the most frequency. Defensive, deceptive and destructive measures and tactics are applied in various ways such as ambush, corps formation, obstruction, deterrence, intimidation and influence in the enemy corps. Covenants are loyal, protective, coercive, utilitarian, reverse, murderous. Messages fall into the categories of written and oral, prophecy, and sleep.

In historical and religious dimensions. The subject of the work, the poet, his worldview and attitude, and his linguistic and expressive creativity have influenced the role of motifs.and changed them semantically. It has affected the quantity and manner of their presence and the manner of their use. The motifs, despite the variety of themes, advance the epic narrative and increase the reader's awareness of the causes of war, the reasons for defeat, victory, and the motives of war.