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

In Naser Khosrow's divan, educational literature and advice are sometimes linked to epic words, metre and rhythm, and have created an epic tone in his poems. Naser Khosrow has made the most advantage of epic and religious allusions, and also used epic words and combinations to create this type of tone. Since tone recognition is directly related to the harmony between style and subject, it should be said that this harmony has been observed to a large extent in Naser Khosrow's poems, because He used his poem as a means for his struggles after his spiritual changes which took place at the age of forty and led him to join the Fatimids. All his life, he has been fighting against the outside world, fighting against the ignorance of the people and fighting with his soul, and he has waged all them in an epic tone that was the best way to express what he said. The statistical population of present study, which is a descriptive-analytical method, is as follows: the highest frequency of about 48% is related to "external war" and "war with ignorance of the people" and the lowest is about 12% of “war with the deceptive time”. Results of this study show that Naser Khosrow not only believed in the influence of the stars and the sky on human destiny, but also he valued human free will more in his own destiny.

In different periods of the history of Persian literature, the art of conflict or answer has been prevalent among poets, especially famous poets of each period. Some of these controversies were confined to the realm of imitation, and others were able to achieve a desirable degree of technical value through the innovations of their creators. A study of books of poems which is called divan, shows that the relationship of poets sometimes occupies a significant part of their poems. One .e.g. of this relationship is the technique of conflict or response. One of these conflicts is the conflict between Homam tabrizi and Saadi shirazi. Examining sources such as Tarikh Gozideh, Muns al-Ahrar, Tazkira al-Shoara, etc. shows that the debate between Homam and Saadi has a history among the ancients. Some of the oldest sources that have mentioned Homam's conflicts with Saadi which is addressed in this research are:The jong that was kept in the library of Lala Ismail in Turkey and was written in 741-742 AH by several scribes, the safine of Shams Haji which was written in 741 AH by a man named Muhammad known as Shams Haji and is now kept in the NafezPasha Library of Turkey and an ancient manuscript from the Divan of Shams Tabrizi, which was written in 739 AH by Ali Shah ibn Ali Sa'iq Esfahani and is now kept in the library of Ayatollah Marashi in Qom. In these manuscripts, the contradictions of Homam and Saadi are explicitly mentioned. For example, the jong of Lala Isma'il has mentioned the sonnets of Sa'di and Homam as the "Contradictions" between Sa'di and Homam. Also in the old Divan of Homam, some of Homam's sonnets and Saadi's sonnets have came together. In the present study, based on these contradictions in the mentioned manuscript and with the help of statistical method, we tried to enumerate the similarities and differences between Homam and Saadi by comparing the domains of vocabulary and syntax. Indeed this thesis was investigated the words construction, non-persian words, verbs construction, particles, deletion, shifting pronouns, presentation and delay of sentence components. At last, we examined the lexical structures of each and found that Saadi paid more attention to the types of words and the variety and novelty of the lexical structures than to Homam. We found that the syntactic structures in Saadi's sonnets are more solid. For example Saadi has more deletations than Homam which made his poetry more concise. Also Homam moved the parts of the sentence more than saadi which caused it to deviate from the standard syntax. Also, statistical charts are drawn using Excel software to display the results of the research in one place.

The internal coherence of the Holy Quran, as one of the manifestations of the compatibility of words and meaning, is sometimes derived from the coexistence of the phonetic set of words. which plays an essential role in creating different semantic levels and mental images for the audience, and sometimes it is made from the purposeful association of words and expressions together, in order to induce a certain concept to the audience. This method is based on the in-text approach and the structure of the sentences and phrases in the Crimean verses, which shows the subtleties of expression of this divine book. Accordingly, when we look at the Holy Qur'an as a part of architecture from the perspective of the appropriateness of words and meanings, we come across the orderly arrangement of words and phrases and a connected set of words that in Behind them lies an ocean of subtle meanings and precise points. By analyzing the structure of the sentences and the specific semantic load of the words, in order to achieve the real meaning and purpose of the Quran, the present research studies the verses of the Crimea based on the in-text approach. In this research, with a descriptive analytical method, the fit of words and meaning, beyond the musical aspect of words, from an intra-text perspective and considering the purposeful role of words and the structure of sentences and phrases in presenting a specific concept to the audience and in order to explain a manifestation of elegance.

In this study, we evaluated the explanation of the past tense inflection of Persian verbs in Generative Phonology and "Words and Rules" theories. We designed a test in which 52 pseudowords, similar to Persian irregular verbs, was presented to the participants, and their task was to choose their preferred past tense inflection from those presented as options. The results suggested that not only there is no phonological rule in the past tense inflection of Persian irregular verbs, but the presence of dual verbs rules out any formulation of structural rules. It also suggested that the irregular inflection of irregulars whose stems ended in -in is due to the phonotactic restrictions that the whole language complies with, not phonological rules. The regularization of monosyllabic stems and stems ending in -ɒ is due to their lack of associative strength, which in turn is due to their syllabic structure and the historical ...

The present study analyzed and described the process of coining new words and terms related to the Corona disease, which has recently been faced by the international community. Official news agencies and websites in both Persian and English languages, such as IRNA, ISNA, Khabar Online, BBC and CNN, were the most important sources of data collection. In addition, some online dictionaries such as Merriam-Webster, Oxford, Longman, Cambridge and Urban were used. The factors of age, gender and level of education were not considered in the present study, and the research method was descriptive-analytical as well. Word-formation processes for the research data, which consisted of 152 words and terms, included derivation, compounding, compounding and derivation, coinage, abbreviation, shortening, acronym, blending, and borrowing. Then the coined phrases (syntactic groups) were classified into two types of noun and adjective. The findings showed that the formation of syntactic groups with 72% and the process of blending with 33% had the highest percentage of occurrence in Persian and English, respectively. The results of the present study can help linguists in measuring the generativity of word-formation processes in the face of natural events and, subsequently, social changes.

Nasafi Tafsir by Najmuddin Nasafi is one of the most important works of the fifth and sixth centuries AH in which the author provided a concise translation of the Qur'an. Has interpreted. The discourse analysis of these two books can show the principles of belief and ideology of the authors. One of the most important theories in the field of discourse analysis is Norman Fairclough's theory, which examines the relationship between the internal and external criteria of the text. Fairclough examines the text in three axes of description, interpretation, and explanation. In the word description stage, the grammar and structure of the text are examined. The discussion of words has a special place because it is the foundation of a text. Fairclough believes that the words of a text can be analyzed discourse in three areas: empirical value, relational value, and the expressive value of words. By examining these three axes, we can understand the spiritual, psychological, personality, belief, ideological, philosophical characteristics of the author of the text and the prevailing conditions in his time.

In this article, the authors try to examine the discourse in the translation of these two books in the field of word analysis with a descriptive-analytical method and libraries.

Semantic creativity in the field of empirical value of words in Meybodi's interpretation is more complete than Nasafi interpretation. Meybodi brings together words and phrases that are not synonymous, and sometimes takes into account the causal relationship in establishing this relationship; But Nasafi in such cases tries to explain more with different interpretations and his goal is to express the importance of the issue. Also, the use of words in the metaphorical sense in Meybodi's interpretation is more than Nasafi, and in the field of the value of word relations, as a result of which the text has a better interpretation and beauty, Nasafi interpretation has acted more powerfully than Meybodi. Nasafi is stronger than Meybodi and the choice of words with a semantic load that affects the emotions of the audience in his words is more.

In terms of empirical value of words, Meybodi is more creative than Nasafi in his interpretation and has acted better. It has a relative effect on the expressive feelings of the audience more than Meybodi.

The study of women's storytelling and common techniques in their works has been one of the topics of interest in contemporary fiction research. However, Previous research has mainly focused on the study of women's novels, the collection of short stories by leading female writers has been less well-researched, especially in recent decades. Hence, a collection of short stories selected from 9 female authors in the literary awards of the 70s to 90s (three authors per decade) was selected and their short stories were analyzed according to the three linguistic tricks (words and expressions), Fiction (atmosphere) and content (dreaming). Furthermore, the evolution of such techniques have been analyzed and compared in the last three decades. The results of the study show that as we move from the 1970s to the 1990s, female writers have used feminine words and expressions less frequently in their short stories. Contrary to the linguistic course of the stories, from the perspective of creating a space, the writers of the stories of the 90s have used home spaces more than other decades (80s and 70s, respectively). In addition, among the home spaces, the most emphasis has been given to sad spaces. In terms of the content element of dreaming, the stories of the 70s differ from other decades, and in the 90s and 80s, this element had little representation in women's stories, a point that may be due to the escape from romantic concepts and a tendency towards realism in the short stories of these two decades.

The concept of equivalence in translation has long been a bone of contention. This article provides a number of examples of situations in which producing equivalence in translation may be a challenge, e.g., when faced with culture-specific words, differences in expressive meaning between languages, differences in form, or words not (yet) lexicalized in the target language. Some of the strategies of producing what the translator considers equivalence include using a cultural substitution, a loanword, a loan translation, a less expressive word, a paraphrase, or an explanation. The translator may even choose to omit an aspect of meaning which, if transposed into the target language, would merely distract the reader from the key message. overall, it seems that equivalence in translation is not something that exists, but something the translator has to create.If the language is a set of names used for naming, then language users can replace the Arabic name with a Persian name that conveys the meaning. If the language is similar to what has been said, learning a new language will be easy, but anyone who has learned a language has realized that languages are not just a collection of nouns, and that language concepts can be different from concepts in another language.

layered stylistics is a sub-branch of stylistics. In layered stylistics, considering the situational context as a macro-layer, researchers break down the text into strata and study the style by examining the text strata and identifying prominent or frequent features. This type of stylistics can be considered as the most complete and accurate methods in stylisitcs. Due to the large number of manuscripts obtained from Hossein Kharazmi’s Divan, the authors use layered stylistic to prove the accuracy of their attribution to this poet. In this research, in an analytical-descriptive approach developed by Mahmoud Fotouhi in his book, the lexical and ideological layers of Kharazmi’s Divan are analyzed. The words and combinations of verses as a unit of style analysis are also examined. It is suggested that the lexical layer is effective in discovering the ideology of the text and explaining the hidden power relations.

In the lexical layer, regarding the semiology of words, vocabularies are divided into structural and process codes, and indicators, vocabulary marking, and repetitive words are introduced as stylistic components. From a stylistic point of view (lexical and ideological), all the copies obtained from the court are consistent and prove their attribution to Hossein Kharazmi. Also, the table of indicators including announcements, titles, histories, material, dates, places, etc., further reinforce this argument. Other elements such as typography, personal stylistics, and period and external music, confirm this issue. The research finds that that among codes, religion has a high frequency. The codes of a process originate from the harmonious connection and function of religion and government on the one hand, and on the other hand, the domination and influence of religion and culture over government and documenting power over religion. These codes are very much in line with Kharazmi's thought. Also, the words related to the institution of love and mysticism have the highest frequency and repetition.

Vocabulary critique is one of the critiques used to evaluate translations of various texts. Garces' (1994) theory is one of the most comprehensive models presented in this type of critique, which radically evaluates the quality of translation and is based on the principle of equality between the source and destination text at four levels: semantic-lexical, syntactic-explicit, discourse-role, and style-cognitive purpose. This research intends to evaluate and critique the lexical choices of Mohaddith Dehlavi's translation of Fotuh al-Ghayb based on the semantic-lexical level of Garces' model by a descriptive-analytical method. For this purpose, after a brief introduction of Mohaddith Dehlavi and his translation, Garces' theory is briefly explained, and then the applicable cases of this theory are mentioned in detail in separate titles on the examples taken from the book. The findings of this study show that the terms of Dehlavi's translation can be evaluated and criticized from the perspective of the components of Garces' theory. In addition to being interpretive, this translation contains many instances of equivalence and similarity, lexical expansion, and ambiguity.

Hadiqat al Haqiqa can be considered as one of the ancient texts of Persian literature; Due to this antiquity, ancient and obsolete words, terms, and combinations have been used in it that some of which have not even been recorded in dictionaries. In addition, due to the mistake of the correctors, misreadings have taken place in the written or corrected texts, which have changed the written form of some of the words and their combinations and removed them from their originality. The necessity of this research is that the words and phrases used in the Hadiqah are among the valuable heritage of Persian language and literature, and the advancement of language and literature will increase the distance between the natives and the works, and such advancement may make it more difficult to discover their correct form. The descriptive-analytical method is used in this research and data collection tools are library resources in which the achievements of other researchers in this field have been spotted and benefited. The main achievement of this research is suggestions for recording some words and compounds in this work that will solve the conceptual problem of some verses.

The history of Persian literature proves that Hadiqat al Haqiqa, immediately after it was written, was met with public acclaim; To the extent that its verses have found their way into the works of Sanai's contemporaries, such as Bahramshahi's Kelileh va Demneh. Researchers' re-approach to the works of Sanai led to three valid academic corrections of this work in the last century: 1. Correction of the late Modarres Razavi, based on the comprehensive script of Hadiqah; 2. Correction of Hosseini (Fakhrinameh), based on a concise script of Hadiqah; 3. Yahaghi and Zarqani's correction, with access to older versions, based on the comprehensive script. Nevertheless, we should not assume that there is no need to correct it; because the misreadings and misconceptions that have led to these corrections are so much that they cannot be easily ignored.  

This research, using library resources, analytical and descriptive methods, has examined the recording of some words and compound words in Hadiqat al Haqiqa. Additionally, the author of the article has adapted some cases with manuscripts. The need to study ancient mystical works, as well as to review and critique the published works on this subject, necessitates further research. The importance of this research is the significant position of Sanai and Hadiqat al Haqiqa in the history of Persian literature, which has been influential in the formation of the mystical current in Persian poetry. Of course, the literary importance of Hadiqah should not be easily overlooked; because the words, combinations, and expressions used in it, due to their lack of use, need more research and recognition. Such is the necessity of this research to highlight similar words and combinations. The research process is such that first, the recorded form of the verse is mentioned in the existing corrections of the Hadiqah, and then, the author's proposed form for recording words and also expressing their meaning will be presented with evidence from Persian literature texts.      

In this research, the correct form of the words and combinations of "mademouyan", "sayesh", "fasi", "chamsh", "takab and takin", "enaz", "tankar", "nikbad" and "nebisandeh" are discussed and finally, it has become clear that some of the inconsistencies in the corrections made from Hadith al-Haqiqah go back to its two different versions, which caused a difference of verses from the verse 3800 (in Khalil Inaljak's version) to 14,000 verses (in Hagia Sophia's version) and this is the reason that has made the explanation of the book very difficult for researchers. It should be noted that when verse or verses are not expressed in their place, the vertical axis of the work will be disrupted, and understanding the meaning of the verses will not be easy. On the other hand, some of the difficulties of Hadiqat al Haqiqa are the result of incorrect correction of verses or incorrect recording of words and compounds, which adds to its ambiguity. However, it should be noted that by approaching the poetic mentality of the poet as well as the language of his time, some of the shortcomings of writing and recording the words and compositions of the Hadiqah can be eliminated. In this study, it was found that the main reasons for misreading and incorrect recording of words and combinations in written or corrected Hadiqah texts include the following:  1. Obsoleteness of words (Sayesh); 2. Use of words and terms of other sciences (Fasi, Tankar); 3. Not reflecting the meaning of the word or composition in its context (enaz, nikbad);  4. Not paying attention to the use of words or combinations in texts close to the time of the poet (mademouyan); 5. Lack of attention to other forms of words (chamsh and nebisandeh).    

Based on Foucault's discourse analysis approach, this study examines participants' discourse perceptions of historical-political words and tries to find the answer to the question of how different historical-discourse formulations and their changing nature is expressed in words as a referent of discourse truth (constructed discourse) and reproduced and  recalled by words. In other words, how is the "word" itself a discourse that can be analyzed? This research was conducted in two stages and two questionnaires with 110 and 135 participants. The method of this research is qualitative-quantitative and based on description and analysis. The second questionnaire in 5 groups of questions evaluates the connection of the word with historical periods and discourses, the difference between the discourse of the word in each period, and the individual discourse of the participants. The data were analyzed qualitatively and quantitatively in the form of statistics and graphs. Quantitative analysis of data from 21 items by SPSS software confirmed a significant relationship between "words" and "historical periods and discourses". The results showed that some words, such as historical-political words, are to some extent formed in discourse and are tied to specific historical discourses. And reciprocally,  independently and disregarding any background and verbal context, they can represent and induce that discourse and reconstruct the components related to that discourse in the mind of the addressee. Thus, although the words have their own lexical meaning in the language, according to different contexts, conditions of occurrence, different minds, and finally different discourses, they show different perceptions, influences, and relative meanings and carry different discourses, and the concept  they have in the mind is a historical  one that has been formed in history. This study concludes that words reflect the reorientation of the discourse formulations and articulations of history and they alone can be studied in discourse analysis and ethnology.

Shafies profound knowledge about iranian classic literature and his continuous investigation on this literature cause a vast influnce from convention.this influnce is abvious in two dimention:deep structure and surface stracture.we can see influnce in poetic languge : idioms ,words and terms and in poetic imagery.as well as in themes,content and poetic motifs clear influnce of conventions.shafiei in a more instancs bring a distich and semistich from classic iranian poets.in some case loan a words,phrases and terms from themes and sometimes bring a them af classic poets in his poems.imagery is one of the other aspect that poet influnced by classic iranian poets.our purpose in this article debating about whole of this influnces imagery is one of the other aspect that poet influnced by classic iranian poets.shafii influnced by great iranina poets as khayyam,saadi,hafiz and molavi and in the contamprory ages affected by shamlu an akhavan in imagery and poetic language.

Shams Qeys-i Razi is one of the greatest prosodist of Persian classic literature and his work, al-Moâjam fi Maâayir-e Ashâar al-Ajam is the most important book in the field of prosody and rhyme. In this book the writer has offered valuable and scientific views on poem aesthetic; rhyme, rhythm, lexicon and harmony between elements in Persian verse. In this work Shams Qeys as a familiar person to principles of scientific arguments in explanation of matters, has expressed his point of views. While discussing on verse, specially its external structure, the most important elements which have attracted Qeys attention and have been of his focus of attention include rhyme, rhythm in verse. In this regard Qeys can be referred as formalist criticizer; since he has more notice to external structure such as lexicon, rhyme and rhythm and even in his definition of verse, he knows it as rhythmic and rhymed words and he has not paid any attention to essence of literary work. In spite of all that, denotations which he has had to harmony, subject, content and rhyme proportion show that he has also had attention to link of form and content in verse. This feature of aesthetic in verse has been evaluated by him.
Qeys, in his book of al-Moâjam has offered valuable views on rhyme, rhythm and harmony among verse elements. Some of his views has not missed their newness and can be criteria in influence and importance of verse. By being familiarity with prosody science and its details, regards it as needs of poetic. He regards those who with no respect to prosody sing poems as skin-deep. In his point of view, prosody science is the criteria of right and wrong, Rhythmic and inharmonic of verse.
In the rhythms of verse, he uses expressions such as sweetness, pleasant, near to inclination and coherence and in this way shows his complete mastery of rhythms and points out that he is skillful in poetry and has absolute command to verbal, musical, aesthetical features and syntax and semantic aspects of Persian language. He has brought various reasons on heaviness of some rhythms in one hand and fluency of some others in Persian language which has been studied in this essay. He also regards that the harmony and proportion of bases and structures of verse is the cause of its more influence, and has invited poets to observe these important features. In spite of all these, he believes that each of the rhythms sweetness factors; harmony of structures and arrangement of, are not solely enough for the influence and acceptance of verse. And when they are near each other, poem will be more beautiful and more efficient. However, without existence of any of these features, poem will not obtain the beauty feature. He, in a detailed way, explains the discussion matter of “moves and statics” which is of causes of rhythm pleasure. The increase of “moves to statics” and vice versa is the cause of movement and heaviness of rhythm which Qeys has studied. It is needed to say that this feature and its effect in the attraction and pleasant of rhythm is also in the focus of attention of researchers in the field of rhyme, rhythm and prosody of Persian verse. Rhyme and its importance in verse and poem are the most important arguments in al-Moâjam.
He cares not to mention the verse which has not rhyme. In his pint of view, rhyme should be complement of music of words, and also have a great role in meaning transfer and general meaning. The rhyme should be so judicious that no one can replace it with other word. Expressions and words and how to use them in verse and prose have not been ignored of his sharp and punctilious look of Qeys. He believes that the language of verse should not be difficult. Language which is used for expressing verse and prose should be simple and fluent. Words and expressions should be of usual which are used mostly by merit scholarship. He doesn’t allow the usage of hard and heavy Arabic and Persian words. He says that verse language should be very similar to prose. He believes in the right election of words in verse. In his point of view every word doesn’t have permission to enter the verse area. Shams Qeys knows the coordination of word and meaning “the completion of verse”. One good poem has elements such as sweet words, pleasant meaning, right rhymes, easiness and fluency all together. He isn’t ignorant of internal harmony and companionship and paradigmatic relation. In his view, neighborhood of words and its qualification to each other is observed (Qeys, 1360: 329). Meaning coherence of verse and its reasonable order are among those cases which Qeys has paid attention in his critic of verse. According to his view good writing and coordination of structures of poem and the way of good combination give the poem aesthetic feature and make its effect greater. The poet should not spoil the effect of words with disconnection of couplet meaning. The structures in verse should be harmonic in its totality to have artistic effect. All these points and views are the signs of his skillful poetry and prosody mastery of this valuable scientist. Passing of days have not thrown dust of oldness to his views and all of his views has kept their nominative and are of focus attention of researchers of rhythm, poem music and aesthetic field

Vazhaneh genre is subset of word-based, meta- poetry in the school of word originality which was published in 1377 and it was considered by literature intellectuals .It was in that time that a kind of minimalist thinking meaning brevity (less is more ), was crystallized in this genre. There are two types of de-familiarization in vazhneh : deconstruction in the terms of internal content and deconstruction in the terms of external form. As matter of fact, the vazaneh genre tends to discover potential, latent relationship between hidden words and beyond of the Ferdinand de Sassure's Susiana's semantics grammar structure trying to :1.approve that grammar is a tool for transferring expression and meaning. 2.word is an independent existence that exists outside of the speech chain.
Vazhaneh with features like go beyond grammar , speech chain structure ,movement and transubstantiation, brevity, sensory, geometric structure, words natural music, and highlighting words written and visual dimension, tries to avoid the words role acceptance in the absolute terms and as intermediate .In this article ,at first, we will study and consider two great linguistics attitude (Pierce's and Saussure's linguistics )and then from the literary schools view such as Dadaism, Cubism, Formalism, concrete poetry, visual- written poetry.

The present study deals with exploring the concept of syntactic devices and surveys its development by the traditional and modern syntacticians. Syntax expert have related this concept to other notions such as rhetorical devices and some other recent grammarians have included it in parts of speech, a point which old grammarians neglected. However, the results of scholarly research have helped to distinguish the concept of syntactic tools from other similar concepts. These results have gathered the opinions of traditional and modern grammarians without preferring one over the other. These studies have also distinguished verbs from tools because they have distinct grammatical characteristics, indicate time, and have many conjugations. Studies have also defined the concept of grammatical tools and described its properties. This research aims to find a clear definition for syntactic tools not to classify them or follow their origins and development through history. However, if the historical traces for the development of tools are focused on, it is to define the concept of tool and clarify its properties.

The purpose of this article is to revise the concept and application of ‘parody’ in picture books. Relying on this revisionary perspective and drawing upon the classical concept of parody as defined by Bakhtin، the researcher examines the possibility of parodying verbal texts by visual texts and vice versa. Also the role of parody in changing inherent power structure in children’s literature is explained. At first، by applying the deductive qualitative content analysis and by using the same features in cinema، as proposed by Dan Harries، the researcher has analysed the parodic features in Khosronejad’s I Am The Hungry Mouse/ And Will Swallow You UP. Then by considering Nodelman and Kooistra’s attitudes towards ironic and parodic interactions of pictures and words in picture books and through inductive qualitative content analysis، the researcher has actually proposed a new reading for the picture book. In this study، parody has been addressed in 5 modes: 1. Parodic relationship of subverted verbal text and the original one; 2. Parodic relationship of subverted visual text and the original one; 3. Parodic interaction between verbal and visual narration in subverted text; 4. Parodic relationship of the verbal text of the picture book and the other stories in the collection: Story، Play، and Fun; 5. Parodic relationship of the visual text of the picture book and the illustrator’s other work in that collection. However، the researcher has focused on analytical rereading of the parodic interactions in a single story –without considering the intertextual dialogues of that particular story with hypertexts or other stories in Story، Play and Fun. This study has proposed the possibility of analysing parody in picture books by borrowing from the cinematic technique of parody. This way، Harries’s techniques have both been confirmed and criticised. The parodic interactions in this picture book has been categorised in 3 modes، each of which has its own features: 1. Parodic interaction between pictures and words; 2. Parodic interaction among pictures; 3. Parodic interaction among words. As a conclusion to this mixed revision، the researcher believes that the context of children’s literature in the subversive play of mysterious synergy of pictures and words in picture books is parodic and is found in the process of creating and the reading of the book. Such subversive play is not only recognizable for children but also pleasurable; and it is necessary for the transmission of inevitable power relations in this genre.

One of the most grand poet and Gnostic of 13 century was (Tahmasb khan) he called by (Vahdat Kermanshahi). He born in the west of the country. Almost the reason of his fame was by composing a pure theosophy odes. That is include purport, like: love & pantheism. Therefore that Vahdat Kermanshahi have a serious role in creation contemporary literature of Kermanshah and design, literature style of this area. So, in this inquiry, whole effort will be for scrutiny his odes by stylistics point. The method of work is scrutiny his odes in 3 level. Verbal level (phonetic, lexical, syntactic), mental level, literary level. Also try to show the matters how make a notability in his poetic language.

One of the difficulties for translators is facing with the same words and their application in language.Translator uses them interchangeably only under the pretext of semantic similarity between words. The usersentence does not have the correct meaning, because of the hidden differences in their underlying meaning. Accordingly, choice of equal and suitable words is the biggest challenge for translator beside acquaintance of translator with the language and culture of other nations and it is his skills.On the other hand, sentence meaning in a dramatic narrative text is including: A set of logical meanings of sentence forming elementsand the meaning ofspeech is the sense that every sentence is allocated to its according to the purpose of the speaker of expression that sentence. Because the roles and dialogue changes with regard to persons and positions in sentence and text, the translator must see what equality is more suitable for desired. Interpretation in the form of the chosen expression or structure for translation of the sentence (Arabic) in Persian language. In this article, we review examples of translation of the narrative and dramatic textsbased on the finding of lexical equals and we search lexical differences (including: Referential, Experimental, Semantic units, Conference, Implied, and Polysemy) and verbal (including: meaning of the words and meaning of the sentence). Finally, we suggest our translation for any of the dramatic and storied sentences. The results show that there are different ways for finding of equivalent that in the meantime, dynamic finding equal is more impressive.