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

Undoubtedly, genre is the oldest topic in the field of literary criticism. Genre has many examples that work in a specific collection in terms of form, content and culture. It also indicates a special type of phenomenon with special features and special roles. Historical and literary classification or periodization between different examples is one of the functions of genre. The important issue in the genre approach is to identify the form, content and function characteristics of the work. This research has typified the children's poems of Kihan Bechaha magazine with the children's genre approach. With the typology of children's poems, we achieved a conceptual model whose framework is formed by form and content. In recognizing the form, we achieved the pictorial system, the musical system, and the linguistic system of the poems. And in understanding the content, we reached 6 categories in the following order: praise, nature and elements of nature, instruction _ educational, political _ social, fun and games, and children's wishes and desires. The children's poems belong to the beginning of the publication year of January 1956 until the end of the first half of 1981.

The research method of our research is descriptive-analytical.

The findings show that in the poems before the revolution, classical and praise themes with uplifting and entertaining functions have the highest frequency, and in the poems after the 1978 revolution, the form of new poems and social political themes with an educational function have the highest frequency.

In the current research, the identification and classification of children's poems have been done with the genre approach. In the form section, based on the data analysis, it has been determined that in the pre-revolutionary poems, classical form and praise themes with uplifting and entertaining functions have the highest frequency; But in the poems after the revolution, the form of poems with socio-political themes and educational function has the most frequency. These results show that with the change of social and political conditions, the content of children's songs has also changed and the genre of children's songs has also been affected by these changes. As a result of this research, it can help to improve knowledge and understanding of children's literature and educational programs for children and teenagers.

Recreation is the most innovative possibility in the field of adaptation: the way and the material of confrontation, digestion, transformation and appropriation of the great and previous text(s) by the author or creator allows a divergent and different creation. In this respect, the recreated text is secondary, but not second-rate. It embodies repetition and otherness at the same time. By presenting definitions, capabilities, and possibilities of new creation, this study analyzes the reasons for stagnation, inertia, and the limitation of new creation in children's and young adult literature in Iran. It shows that the perception of tradition as something outdated, the didactic-moral orientation in the creation of texts, the ignoring of various philosophical, mythological, religious, and historical texts, etc., the ignorance of the importance of the story/novel in transforming experiences, enjoyment and improving creative thinking of children and young people, and the consideration of the audience as an object of the generation, i.e. the consideration of the audience as passive and inactive, which has reduced recreation in Iran to changing the point of view, characters, place and time, tone, ending, etc. After analyzing the reasons for this stagnation and time marking, this study shows the expansion, capacity, multi-layered (nested) and eclectically intertwined aspects of western youth novels by comparing Iranian and non-Iranian youth novels. These novels have benefited from various intellectual, epistemological, and artistic texts and sources as well as from one statement, allegory, idea, or main theme.

Storytelling, especially for children, has been started since the beginning of history because fiction is among the first tools human used for a better understanding of the world around; such background foregrounds the significant role storytelling has played in cultural and social life all over the world. With the emergence of the discourse of humanism and the importance this discourse put on education and the disciplining of the young generation, a utilitarian use of narratives was normalized; in other words, narratives were deployed as an efficient means to form the social and individual identity of children in desired directions while guaranteeing collective and civil life. Even though due to the child’s lack of experience and awareness, the majority of children's literature inevitably became didactic, what was conveyed through this literary genre was to institutionalize the value structures popularized by the ruling humanistic discourse as well. Through techniques of repetition and, consequently, ‘naturalization’, Children’s narratives formed an integral part of their identity. However, this instrumental use of children's literature to control and direct children’s psyches towards predetermined behavior patterns caused deeper concerns in society when those dualisms governing the humanistic discourse approximated to extreme behaviors such as racism and sexism. Therefore, it was felt that the real nature of liberal discourse, as a ‘construct’, should be revealed, and its doctrines should be open to questions. Such challenges were posed by different movements. One of these movements was post-humanism. The main axis of post-humanist thinking, as Flanagan has also pointed out, was the “redefinition and expansion of the human subject” (2014: 5), which has been associated with the challenge of the dual-centered structures of the ruling humanist discourse and the critique of ‘essentialism’.

The present study has attempted to examine “Khaleh Souske” and Gulliver’s Fourth Travel from the perspective of posthumanism. It has investigated the deconstructive effect of posthumanism on children’s literature in a comparative reading. It deploys a descriptive-analytic approach to explore how children’s literature, once deployed as a means at the service of spreading the ideology of liberal humanism, can also be adopted by the counter-discourses to open up new horizons. The methodology is based on a posthumanist approach focusing on discursive hierarchies of “the self”/“the other” and human/animal. To approach the text from a post-humanistic perspective is to challenge the hierarchies and the superiority it has claimed for man to nature. Consequently, a post-humanist technique reveals the dependence of man on nature, and tries to bring nature and culture together. Such attempts depict man and nature as equal and, thus, question man’s superiority to nature; this outcome provides a different definition of man and nature.

This article, as discussed above, focuses on the notions of posthumanism and its deconstructive effect on children literature in a comparative reading of Gulliver’s Fourth Travel, a work by Jonathon Swift (the British writer), and “Khale Souskeh,” a Persian folklore story. Using a posthumanist approach, the writer tries to discuss how children literature, once deployed as a means at the service of spreading the ideology of the dominant discourse (liberal humanism) to instill the discursive hierarchies of  “the self”/“the other” and human/animal, can also be adopted by the counter-discourses to open up new horizons up to the postmodern man. It is argued that through the blurring of the borders between human/animal and, thus, the breach of the hierarchical “chain of being,” an anti-narrativeisformed which can redefine the concepts of gendered “identity” and “self.”In this part, the most important humanistic elements in Gulliver’s Fourth Travel and “Khale Souskeh,” have been analyzed, and the stands of these two works on various doctrines have been compared. These works have mainly questioned liberal humanism for three major doctrines: man’s superiority to nature, essential identity, and binary of man versus nature. 3-1. Man’s Superiority to Nature Besides its focus on the notion of ontology and its challenge of humanist binary oppositions, post-humanism tries to destroy the existential superiority of man in existence, and this sometimes approximates to the border of satire. In other words, by highlighting the capabilities of other beings in nature (animals here), the liberal human-centered view, expressed in the form of ‘man as the center of existence’, is challenged and, along with that, ‘the chain of being’, once justifying this idea. Such stand substitutes hierarchical relationships with a rhizomic one, in which a horizontal relationship replaces the former vertical structure imposed on human and animals. 3-2. Essential Identity Satirizing human supremacy requires the creation of ‘in-between’ beings in these works. While these creatures look like animals, on the one hand, they also have the physical and behavioral characteristics of humans, and, consequently, create cultural structures which depict such ‘in-between-ness’. The heterogeneity that these creatures display questions all the essentialist doctrines, especially that of ‘fixed, essential identity’, to which liberal humanism has referred over centuries to justify its racist, sexist, and supremacist stands.3-3. Man versus Nature In works centered on animals, the first challenge the audience are facing is an entrance into a world where animals speak the language of the audience. This promises a different story. In fact, the ability of animals to speak is the first feature that moves animal boundaries; furthermore, it is at this time that the humanistic ‘ontology’ and the human/animal dualism are shaken. The reason lies in the fact that in the past, the most significant characteristic distinguishing humans from animals is their speaking power, and this power is drawn from one’s wisdom. Therefore, the existence of this power in animals presupposes special wisdom, which, if not higher than human wisdom, is equal to that.

Post-humanism, by providing such space of heterogeneity, makes a new sense of belonging to be formed, the outcome of which would be a challenge posed to essentialism. Accordingly, it questions liberal humanism and its discriminatory system since ‘essentialism’ is its building block. By challenging the ‘ontological" discourse of liberal humanism, blurring the boundaries of "self/other" and highlighting the concept of ‘fluidity of identity’, post-humanism can form a kind of ‘anti-narrative’ that tries to create a new culture, in which relationships are based on equality. Furthermore, it expands liberal humanism’s ontology and treats man as an entity that just coexists with nature. This expansion will later build up a better relationship between man and his environment and, thus, teaches children to act as such. Besides, by equating animals with humans, these works have tried to restore the lost balance of the universe, which has been exacerbated by the hierarchical structures of liberal humanist discourse and its efforts to conquer nature. Furthermore, they can provide some awareness to the children of the current generation about the status of man in nature, as another being rather than the only being for which the universe has been created. This knowledge modifies man’s ambition and makes him build up a kind of peaceful coexistence with nature.

Raising children is an important issue in all the societies. They are actually an important human resource holding the key to the future, therefore, necessary facilities need to be provided. They can use these facilities to provide the needed service for the whole society. This is the way to prosperity and progress in the future.Literature, poem in particular, is the best way to shape their personality and to prepare them for their life. This article seeks to examine the teaching value of such concepts in children literature by hessa alawathi, Qatari poet. This is based on descriptive_ analytical approach in which several collections of his works containing religious, moral, and social concepts are extracted and studied. It was revealed that the poet first enumerates divine features, familiarizes the children with worship and prayers, and teaches them to respect the parents and elders to transfer the above mentioned values.The poet then tries to introduce the children with concepts including loving nature, respecting jobs and law abiding. He elaborates on these issues to help children find a correct and rightful path in life.

This paper examines the role of the child as an implied reader in the children narrative fiction. This highlights some crucial questions. First, there are no clear-cut definitions by the theorists for the peculiar kinds of readers. Second, there is no distinguishable difference between the real and implied readers. Third, what are the differences and similarities between real readers and narrative audiences or at best, narratees? Forth, if the implied reader remains a concept in the mind of the real author, is it necessary to be taken into account at all? Fifth, does the real author just deal with one reader to make out of it an ideal picture in the mind? Sixth and not the least, due to such challenges, how is it possible to talk about the concept of the child as an implied reader? This paper aims to redefine and conceptualize the concept of the implied reader in the children narrative fiction, giving a new, much more complete version of that concept through modifying the narrative communicative model, and finally adding the child-implied reader as a new necessary component to that model. This said, the child-implied reader has rarely been taken into consideration in the concurrent literature especially in Iran, though it may help to pave the way for both writing and criticizing children literature

The children literature is the origin of the values ​​and aspirations of a society that must be internalized in the spirit and soul of an important group of people, namely children and adolescents, because they are the future makers of the society.  This field of children literature differs greatly from adult literature. One of the most significant of these differences is the elements of the story, because the elements of the children's story must fit into the characteristics, wishes, and talents of the children. Character is another important element in this matter. Examining character’s impact on the reader makes the selection of the story more crucial, and introduces suitable and useful stories. With this view, participation in this field of literature becomes feasible only for those who have achieved deep knowledge and understanding of the field. Zakaria Tamer, contemporary Syrian writer, is one of those writers who has succeeded in this area and has created valuable and lasting stories. This study aimed to investigate the element of character in Zakaria Tamer's story collection through a descriptive-analytical method, in order to evaluate and measure their educational role and effect on the audience. The results show that Zakarria Tomer has applied different kinds of characters including human, animal, and natural and artificial phenomena. As seen in Tamer's story collection, Tamer applied one (specific) character in one story and different mixed characters in others. Animal characters showed higher frequency of usage and played a pivotal role among others. This may refer to and be influenced by children's psychological features. Animals are selected depending on their character features. Behind each story, Tamer sought an educational message illustrated through characters' speech and action. Simplifying the speech and action through applying rhetorical feature made the understanding less complex

Folklore is an important aspect of cultural memory of human societies that play a crucial role in defining and re-defining collective identity of a nation, a community, or even a group of people. It consists of know-how, indigenous knowledge, customs, rituals, feast and festivals, performing arts and of course oral literature. After, UNESCO convention on 2003, all manifestation of folklore is declared as intangible cultural heritage (ICH) that should be safeguarded and preserved for future generation. The significance of ICH is not just being linked with past and our traditions, but it has been transmitted by generation to generation, either by apprenticeship or orally. In this respect, we have responsibility in safeguarding and preserving them for next generation in sake of our cultural memory and as a source for incoming creative works. However, safeguarding different aspects of folklore can not be possible if we do not attempt to understand them deeply. Fairytales, as part of folk tales, are always fascinating for both kids and adults because of their supernatural creatures and promising massage of hope and prosperity, especially for those who value justice and good deeds. Iranian fairies (Pari in Persian) are one of the most mysterious and contradictional creatures in Persian literature. During pre-Zoroastrianism, they were considered as the goddess of fertility (Sarkarati,2007,p. 6), but in Avestan corpus as well as some Pahlavie texts they were mentioned as female demons who prevent rain and deceiving heros and kings (Mazdapour,1999, pp. 124-125). However, after Sassanid collapse, they appeared in classical Iranian poetry as beautiful and beloved creatures (Sarkarati, 2007, p. 7). Notebly in fairytales, they are neither the goddess nor female demons, but can show both faces in different situations. However, so many details about their lives have been mentioned in fairytales, in terms of modes and appearance. These details help us to have a better understanding of these imaginary creatures. In this regard, the main question of this research would be what is the characteristics’ of Iranian fairies in terms of their habits, appearance, superpower abilities, deeds, relationships (with human being and themselves), etc.These characteristics are attributed to them during centuries by storytellers in whole Iran.

To answer mentioned question, Murzloph’s research on typology of Iranian tales would be very beneficial and is a good source to explore Iranian fairy. Based on this typology there are sixteen types that fairies are appeared in some of their variants, either as a central figure such as a hero/heroin, villain, supporting character, minor character, etc. The mentioned types are as following:403: Laughing flower; 425: The groom is an animal: Wicked witch; *425A: The dumb husband; *425L: A lock around the fairy-groom; *432: The fairy-groom; 459: The prince who falls in love with a doll; 513C: The hunter boy; 516B: Falling in love by seeing the strand of an unknown lady in water; 530: The guardian of tomb; 552A: The helper animals in role of husband: 706: Accusation: The mother who kills her kids; 707: The innocent woman; *737C*: Wealth as destiny; *832A: Losing a fairy- wife because of disobedience;
*923B: The girl who determined her destiny; *936: The mountain of gems. Every type may have so many variants, some has been recorded and some still not the chance. It has been tried to find out at least four variants for every type and recording fairy’s characteristic in each variant. However, to respect the permitted word count of the article, the outstanding variants will be mentioned in discussion section.

3-1. Fairies Habitat Fairies’ territories are remote and unfamiliar, somewhere like Netherland. Sometimes they are referred by legendary name such as the mountain of Qaf or the mountain of Abar- referring to an unreachable place- (Darvishiyan & Khandan, 2004,Vol. 2, pp. 253& Hosseini, 2002, pp. 180-179). In some variants, rivers, lakes, oceans, seas marks the borders of their territories. In this case, water is a barrier that they can not pass over it.Therefore,it happens a human invade their territory without their permission. Their attempt in arresting him, can not be succsful, because the invader can pass over the water and they fail (Enjavi Shirazi, 1975, Vol. 2 , pp. 14-8).
However, in some variants, there are fairies that live in vicinity of a fountain, a well or a river (Darvishiyan & Khandan, 2004, Vol. 2, pp. 79-65& Ibid, Vol. 3, pp. 393-412& Darvishiyan & Khandan, 2005, Vol. , pp. 13-33). The most extraordinary and fasinating places as their habitants are underground gardens (Mihan Doust, 2000, pp. 11-19), and the most common inhabitats are abundant castles (Darvishiyan & Khandan, 2004, pp. 263-247).3-2. Physical Characteristics Nothing is mentioned in details about their physical characteristics. They are just referred as creatures with celestial beauty, both for female-fairies and male-fairies (Darvishiyan & Khandan, 2009, pp. 385-387). 3. Animal Fairies It seems animals can be fairies too. There are variants with horse-fairy, cat-fairy, lizard-fairy, and fish-fairy. They have superpowers like other fairies; horse-fairy can be so faithful to the owner to sacrifice her/his life to save the owner (Mihan Doush, 2000, pp. 160-168). The cat-fairy is mentioned as clairvoyance and warns her/his owner from incoming danger from time to time (Pezeshkian, 2005, pp. 54-59). The fairy-lizard can give decent human the most precious magical ring because of a favor done to the family (Enjavi Shirazi, 1975: Vol. 2, pp. 43-61). Generally they appear mostly as supporter characters. 4. Moods and Dispositions From a human point of view, they could be maleficent or benignant, on a given situation. Their habits, law, and orders differ from human beings. They used to conceal their secrets even when they marry human beings. If the couple is a human being as husband and a fairy as a wife, most of the time their marriage did not last. The reason lies in husband's violation of her wife's orders. Fairie’s deeds and their odd behaviours should never be questioned by her human-husband, otherwise, after an explanation she leaves her husband forever (Enjavi Shirazi, 1975, Vol. 1, p. 10& Darvishiyan & Khandan, 2004,Vol. 12, pp. 255-265, Mihan Doust, 2000, pp. 11-19& Ibid, pp. 24-20). 5.. The Supernatural Powers  Faireis’ metamorphosis as different species such as pigeon, serpent, dragon, frog, monkey and even human appeared in Iranian Fairytales. Based on situation, they may help and reward human or harm them. The most common fairy’s metamorphosis is turning into a pigeon to reveal secrets. On the other hand, the rarest fairy’s metamorphosis is turning into a human. The latter case implies but not explains clearly different aspects of human beings and fairies in terms of their appearance (Mihan Doust, 2000, pp. 43-49& Darvishiyan & Khandan, 2005, Vol. 12, pp. 254-251& Ibid, pp. 51-43& Behrangi, Dehani, 2000, Vol. 2, pp. 27-31& Mirkazemi, 1999, p. 33). 6. Transforming part of their bodies into gold or gem In some fairy tales, there are fairies whose blood droplets transform into gem (& Darvishiyan & Khandan, 2011, Vol. 12, pp. 254-251& Ibid, pp. 405-520). In rare cases the ashes of a fairy transforms into gold (Marzlof, 1993, p. 97). 7. The fairies and plants Some fairies are destined to be born from plants. Usually they live in the middle of magical trees’ fruits such as apple, pomegranate, sour orange, etc. These trees, that are abile to talk; are guarded by demons. The hero should have found a solution to pick the fruits without any confrontation with the demon-gaurds (Enjavi Shirazi, 1974:Vol. 1, pp. 339-340-199& Ibid, 1977, Vol. 3, pp. 67-45). Because of the function of these fairies, they may symbolize an Iranian Goddess of vegetation whose presence triggers blooming flowers, reviving trees or even appearing decidedly rare flowers (Barfar, 2009, p. 131& Nemat Tavousi B, 2016, pp. 221-214). 8. The concept of death and fairies  Death is accompanied with uncertainty when the subject is a fairy. Sometimes it means she/he comes back to his/her territory, sometimes they are burn to ashes and disappear forever. In some variants they come back to life, because they beloved partner fixes the damage (Darvishiyan & Khandan Mahabadi, 2012, 263-247&Ibid, pp. 81-82& Ibid, pp. 125-122)

According to the typology of Iranian tales done by Ulrich Marzolph, fairy tales were surveyed in details of different aspects of Iranian fairies. This study has paied more attention on fairies' characteristics such as: their living habitant, physical characteristics, moods and dispositions, abilities and powers, vegetation existence, the concept of death, etc. In a holistic portrait it can be concluded that while fairies have their own territory, they live among us, in abundant castles, near or in fountains, underground gardens, etc. They are both men and women. Even some animals can be fairy too. Although they get married to humans, just the marriage between woman and male-fair would last. They may behave kindly and maliciously. The most precious thing for them is their secrets that should be respected. They change their appearances as animals and some of female-fairies grew on a tree (in the middle of a fruit). Seemingly, there is no boundary between the animal, plants and fairy worlds.

Creating a link between the child's story and the verses of the Qur'an depends on the author's ability to use the Quranic language and concepts appropriately. Kamel Kilani is one of the most successful writers in the field and a pioneer of children's literature in the Arab countries. In order to consolidate the stories, he has benefited from a wide variety of Quranic verses and has been able to establish an effective balance between the language and content of the stories with the Quranic verses. Using the verses of the Quran in various forms and in the heart of imaginative, fascinating, and exciting stories that do not seem instructive in any way reflects the author's thorough knowledge of children's temperament. The present study seeks to investigate the ways of influencing Kamel Kilani stories from the Holy Qur'an via descriptive method and structure and content analysis. One of the most important of these methods is propositional borrowing. Apart from adding to the semantic, lexical, and literary richness of the text, the author also pays special attention to the rhythm of the word and music of the text, using the verses of the Qur'an. Other common forms of manifestation of the verses of the Qur'an in the context of the stories include lexical loan, and implicit, stipulate, and inspirational efficacy, which have been used in accordance with the texture of the word and its content.

Social stories in 1980s have been the most frequent story structure in the field of children’s  literature.’’ Social realistic stories’’ and ‘’ social idealistic stories’’ reflect the social difficulties and ideals of Iran during 1980s. The ‘’social realistic stories’’ have scored 181 items (59. 54%) from the whole reviewed stories. The most important subjects of realistic stories include:’’ family relationships with 93, ‘’ economic-cultural issues’’ with 46and ‘’ war and Islamic revolution’’ with 42 ones ‘’. ‘’ The social idealistic stories’’ have devoted 123 items (40.46%) of the whole reviewed stories. These stories mainly consider subjects such as:’’ standing against cruelty’’ with 86 and ‘’unity and sympathy’’ with 37 ones. Studies indicated that writers of the social stories of the 1980s. Studies indicate that the writers of social stories in 1980s mostly considered the age group of 9 to 11 as much as 94 items (30.92%) and the least group was the age group of 4 to 6 with 14 items (4.60%). The age group of 9 to 11 a 12-17 with 69 items (22.69%), the age group of 7-8 an 9 to 11 with 56 items (18.54%), the age group of 4 to 6 and 7-8 with 39 items (12.82%) and the age group of 7-8 with 32 items (10.52) were have been counted as the most common groups of these stories.

Children books reach out to a specific and substantial group of people, youngest in society. Their translation has always been at stake, since paradoxically, children literature is not bound to any geographical or cultural limitations and yet has to be made aware of some issues in the receiving end. The translators transferring the contents of these books bear the burden of delivering their message intact and undamaged, while they are also expected to localize. One challenging issue for the latter is to how to translate the proper names. In this paper, it is explored which one of the strategies suggested by Van Coillie’s (2006) model of translating proper names have been commonly used in translating three books with children audience ‘The Lord of the Ring, Harry Potter and the Sorcerers Stone, Song of the Ice and Fire’. Ten strategies for translating the proper names are analyzed in this corpus and reproduction is found to be the most frequent strategy.

One of the areas that can discuss about the role of women is the humorous stories in children`s literature. In the present article, the role of women was studied in the selected stories of four satirists of children and adolescents` literature (Moradi Kermani, Hasanzadeh, Akbarpour and Hashemi), based on the actantial model of Algirdas Julien Greimas (1992-1991). Based on this, the characters appear in the position of six actants (the actant-subject, the actant-object of action, the actant-sender, the actant-receiver of information, the actant-supporter, the actant-oppositionist of volition) in the narrative and act according to their position. The main question is: " According to the actantial model, what actantial positions do women have in these stories?" The research results show that the mentioned stories have traditionally been narrated by men, and women do not have a strong action in many of the selected stories and act lessly as the actant-subject. Another point is that in the stories that the women are the actant-subjects, men are also involved in this position. In these stories, women are mostly the Actant-Supporter. Also, according to the research results, in the humorous narratives of children's literature, women's actions are rejected and humiliated, and the humor of the story expands in contrast to male characters, especially their wives. In a few stories such as Nish-o-Noush of Hassanzadeh, the main character is a girl who has the actant-subject position, and according to Greimas's definition of narration, she successfully completes all stages.

Lullabies are considered as a branch of popular literature and are also a subcategory of children literature due to paying attention to children and their issues. Furthermore, lullabies can be considered as the first child tune that has a long history since the genesis of humanity. The reflection of the political, cultural, religious, and social issues on lullabies in protracted centuries has been clear; this can be the main factor for the maintenance of the lullabies. The lullabies content changes based on the issues of each age has caused the foundation of a suitable base for being aware of the dominated issues in the time of this sub-genre for that the social issues are not exceptional. The appearance of social issues in new lullabies, of which the poets take the control, is more than the old lullabies that the mothers had to sing. This has intensified the necessity to analyze the reflection of social issues on new lullabies. This study aims to socially investigate the lullabies of current age through a descriptive-analytic approach and to analyze the resulting effects on the lullabies content

From a cognitive perspective, the term “metaphor” is a method of understanding a mental and abstract concept in terms of another more concrete and simpler concept. This process includes both verbal and nonverbal metaphors. The present study is an attempt to study “sadness” and “happiness” conceptual metaphors as well as the degree of conformity between verbal and pictorial metaphors in the primary school poems and pictures in “reading” books. The data were collected from a number of 26 poems and their pictures from the first to third grades. The analysis of the data revealed that the metaphors of happiness were significantly more used than the opposite domain. Regarding conformity between verbal and nonverbal (pictorial) metaphors, 8 poems showed a high degree of conformity, 17 poems were partially compatible and one poem was completely incompatible. The findings were satisfactory due to the high frequency of happiness metaphors; however, due to the lack of complete compatibility between verbal and non-verbal metaphors, the modification of the pictures should be taken into account. Therefore, results can be useful for the book illustrators of the children literature books.

In recent years in Iran, Aiden Chambers’ theory called “The Reader in the Book” has greatly attracted researches in the realm of children literature. The purpose of such studies has been to read various works of Iranian children literature writers based on Chamber’s theory. In order to recognize the specifics of the child reader in the text, Chambers introduces the four essential elements of style, point of view, taking sides and tell-tale gaps. The fundamental question of this study is to examine whether the theoretical elements and concepts chambers names as essential to create the child reader in the book are practically used in his literary works? The examination of “Cindy’s Day Out” from his collection, Kissing Game, represents that Chambers has created an active and critical child reader in his work through the proper application of different methods, such as the shift from narratorial-descriptive style to dramatic-objective style, Various but fluid and friendly diction, few but understandable literary figures, third person narrator focalized through the main character, taking sides through style shift, superficial and cultural gaps along with gaps in characterization and narrative structure.

Linguistic analysis of children's literature is one of the subjects that need to be considered in language and linguistics. The aim of this study was to investigate the children’s’ linguistic literature in different age groups. For this purpose, this study seeks to introduce the Syntactic complexity of each group with analyzing the proper linguistic complexity figures for different age groups. In each of the figures in question, which consists of ten thousand words, some syntactic complexities such as the number of words in simple sentences in each age group, proportion of simple sentences with respect to the compound verbs, the presence of agent and patient in the texts of ten thousand words of each age group were studied and statistically compared. It has been shown that with increasing the age, number of words in simple sentences is increased. However, the ratio of the simple to compound sentences decreases. But, there is no significant difference in time of the used tenses. Relating to the presence of agent and patient, sentences are divided into ten categories. This study shows that between applications of sentence predications, passive, exclamation, sentences with omitting active and passive verbal statements by verbal analogy, interrogative sentences, sentences with pro-agent and sentences with agent and without patient, significant difference was seen. But, no significant difference was seen between sentences with non-personal verbs and sentences with agents and without patients, for different age groups

The story in the literature making today to two real and Virtual Learning. use real words in real space and virtual and precise meaning to word usage in the sense unreal. Two kind of famous in the story are allowed, allegory and symbol of which are indirect and implicit concepts indicator in the story are. In fact symbol method is correct-that the author with the use of a subject under the cover the theme of other nothing and according to other things shows and scenes and concepts to appeal to witness and example before it takes the author in this article with method of case selection and 50 the story of the universals to the examination of two important elements in allegory and symbol of the story of the children and Teenager. research has been done shows the fact that there is emotional to the world and children element in allegory and symbol of the special and extensive literature to children. Use of different kinds of symbols and allegory are writers-writers special to the story literature children-educational goals in inserting and upbringing indirect in the stories helped. Using the-dimensional style (or character of) belong to the animal kingdom, objects, space and time relations for human reflection and transmission of messages in the form of moral literature children in Iran. and major part of the book has been translated into the published or by the Center of Intellectual Development of Children and Young Adults the book special age group Children animals of the kind of the story.

This paper studies and compares the methods of story writing of Nader Ebrahimi and Lina Kilani، the wellknown Syrian writer، in children literature. In the following، this paper explains the abstracts of two stories from Nader Ebrahimi and Lina Kilani (when someone talks، how will be their shape? – cloth of a doll called Selmi respectively) and criticize them based on the mentioned standards. It is noteworthy that this paper derived from a master''s degree dissertation investigating all stories written by both writers، and the results of the paper adopted from all their works. Due to the scope of it، this paper only investigates one work of each writer.

Gender is one of the most important parts of human identity that is formed in human beings by the process of socialization, especially in childhood. This process is realized in some ways including reading fiction books so children are exposed to this process from very early in life. This process and the mechanisms of its formation and development are investigated in this article in the story of Name-haee be Aqa-Ghoole (Letters to Mister Giant) written by Mohammad-Reza Yusofi, based on the symbolic interactionism, a relevant sociological theory. Findings show that the story is full of gender bias many of which are commonly discriminatory in the social real world out of the story.