Sa'di's Golestan is one of the most important works of Persian prose that there is no single coherent view of its typology but most scholars have spoken about the impact of Maqameh on its style and this has contributed to the research Golestan. This article is an attempt to know the typology of Sa'di's Golestan common error correction which counts Golestan as an imitation of Arabic Maqameh writing style. For this purpose first comes the exact definition of Maqameh and its features in three levels of narrative structure, subject and theme and checks composition Maqameh Saadi's Golestan narratives of these aspects. The results show that Sa'di's Golestan has at all three levels obvious and fundamental differencesy, with Maqameh and for this reason, it can not be called Maqameh or spoke of the impact of Maqameh style in Sa'di's Golestan following the discussion, while expressing moral anecdotes, features show that Sa'di's Golestan is a collection of moral tales which is different from the traditional prototype of this type of story.

Saadi's Golestan and Jami's Baharestan are two Persian works in prose in which significant techniques have been used in translating Arabic expressions due to the proficiency of the authors in Arabic and Persian languages and their rhetorical and linguistic knowledge. In this research, the Arabic-translated phrases in the mentioned works have been studied based on the target-oriented approach in translation. The basis of this approach is that the translator tries to choose equivalent and equal elements of the target language with regard to the elements of the source language and text. With the help of special methods, he also tries to enter the entire meaning of the desired context into the target language and to avoid conveying the explicit meaning merely. The aim of the present study is to find Arabic to Persian translation techniques in Saadi's Golestan and Jami's Baharestan and to examine the extent of Saadi and Jami's commitment to the target language. Considering that Jami's Baharestan is the most prominent work of art identical to Saadi's Golestan in terms of form and content, the results indicate that the techniques of translating Arabic phrases into Persian in this work are also remarkably similar to Saadi's Golestan. Accordingly, the most distinguished methods of the target-oriented approach in translating the Arabic expressions of Golestan and Baharestan, respectively, are transition, dissimilation, adjunction, and disambiguation.

Sa''dī''s words, such as the paper, have gone hand in hand with This earth globally, and have been spotted on the eyes of readers and enthusiasts of poetry, one of the items that the works of Sheikh Ajil are always enthusiastic about, the sub-continent of India, and from The sentence of this magnanimous Mirzahar Aghpopal is the throttling of Pikandarabadi (1214-1296), which follows Sa''di''s works, and he has three works, called Four Barons, Svanbestan, in response to Sa''di Boulevard and Sa''di''s Golestan Sa''di. In this paper, we compared the guarantees of Golestan Hafez and Sa''di''s effect in expressing the structural property of the effect of speculation, and we examined and categorized the types of guarantees used in his work. Then, by comparing the guarantees provided by Golestan with the hypothesis of yusefy copies Khazaeli, the idolatry of Golestan Saadi, regarding the recording of a fragment of Golestan''s words, the importance of looking at the manuscripts in the subcontinent in the correction of the works of Saadi was pointed out; therefore, the comparison of two books can be from the perspective of correcting Golestan and then Landsat Saadi.

Saadi's Gulistan tales, classic Persian literature are among the most successful story The research that has been done with the aim of revealing one of the values of Gulistan of Sadi, the problem of "fast version" as a factor in the story lasting popularity and the effect is studied. The speed of the narrative is to be shown in a literary work, actions and events occurring during the period of time And to measure the volume of each of the time zones of the book is dedicated to them. Therefore, the purpose of this story is based on the theory of narratology "Gérard Genette", to form a cross - sectional study was ", And to increase and decrease the speed of the narrative on topics such as selection and removal time - Parish, frequency, description, dialogue, adding episode, theorizing writer, subjective expression, revealing the imaginary and mental - emotional, Soliloquy and quotes were investigated. The results of this study suggest that the pace of the narrative is the story of Saadi's Gulistan. Due to the volume of the stories, use the maximum speed at which the reducing agent is a good And a reputation for durability and is more of a literary work.

The purpose of this research is to use analytical and literature review methods to compare and analyze the the moral virtue of “Truth” metaphor in two famous Middle Persian and Dari Persian texts(“menog I xrad” and “Golestan Saadi”). We also aim to understand the source domains of this metaphor based on the contemporary metaphor theory theory. Our analysis showed that five name- of- mapping; including Thing, Act, Path, Speech and Accessories were found in“menog I xrad” and “Golestan Saadi” . Thing and Act are two name-of-mapping which are common in both texts but [truth is a Path] and [truth is a Speech] was just appear in Mēnōg-ī-xrad and [truth is an Accessory] was just appeared in Golestan Sa'di. As discourse will show two aspects of Civilization and Culture in mentality of readers, maybe we can conclude that [truth is an Accessory] is the civilizational aspect of discourse which is emphasized in Golestan while [truth is Speech] and [truth is a Path] both shows the cultural aspect of discourse in Mēnōg-ī-xrad. Of course there is no priority between these two aspects which were discussed and just shows that in pre-Islamic and post Islamic period Truth was an important discourse in Iran.

The idea of ​​a subject-centered subject with a boundary separated from the body is that which; It was raised in the pre-modern era. Little by little, the physical understanding of the subject was developed in the thought of postmodern philosophers, with studies of the effects of the results obtained from subject-centered developments. the consequence of the thought that followed the perception of the world through the body; Bath changed the movement, from subjectivity to objectivity, the formation of physical subjects, different rituals and emphasis on sensory perceptions, so that the concepts of the surrounding world for him can only be defined in a living-body context. The French thinker, Levinas, (1995-1906) is one of the late philosophers who has a physical perception of the world. He is known as a "philosopher of ethics" and "another philosopher" who has studied philosophy from the point of view of moral aspects and in a physical context. "Responsibility towards others" is his most important intellectual statement. The most prominent characteristics of this theory are: 1. The moral thing is formed in the confrontation with the other and the relationship of the subject with the other. 2. Responsibility towards others is associated with responding to his needs and this happens in the form of a physical behavior. 3.Responsibility towards others requires self-care and body control for the benefit of others. 4. Responsibility towards others includes the matter of "saying"; That is, we are required to react to the "other" and respond to his call. Golestan Saadi is one of the prominent moral texts that in his era considered the review of ethics and education as a necessity. In this book, the focus of Saadi's attention is the concern of the "other" and the need for appropriate response and responsibility towards him. The present study deals with the adaptation of the theory of responsibility towards others with "It" with a descriptive-analytical method. Our selected data includes; Eight anecdotes from "It" are normalized according to characteristics such as having a narrative plot, the presence of participants, physical and dramatic behaviors, the type of discourse and punishment. The compatibility of the theory with the field of discussion is shown as follows: The confrontation of two faces in stories, in a dramatic way 2. The clarity of the moral concept in the form of physical and action-based behaviors and Reactions. 3. The appearance of responsibility towards others in the form of controlling physical behavior in the form of normalizing punishment. 4. The appearance of "saying" in the stories in the form of physical confrontation, dialogue between two characters, moral behavior and facing punishment and punishment. The findings show that paying attention to otherness and otherness in "It" is important from three aspects:1. It has caused the formation of moral discourses whose purpose is to reject moral vices and highlight virtues for the benefit of others. 2. The need to pay attention to otherness leads to the acceptance of some limitations, so the result of the issue of controlling the body and taking care of the self for the benefit of another has not been the basis for the widespread discussion of moral discipline in "It" 3. In "It" moral discourse, responsibility towards others, in addition to controlling the body, is accompanied by controlling the language, that is, avoiding the command and addressing the manner of moral books, and the language is "speaking" as a living and dynamic process and normalizing punishment with Joke and criticism methods are also among the subtleties of artistic expression with characteristics such as the dialogue of two conflicting moral discourses and contradictory situations, physical and dramatic behaviors in it; In fact, with an artistic view, efforts have been made to reject moral vices and beautify virtues.

This research, with a descriptive-analytical method, examines "responsibility towards others" and "control of the body" for the benefit of another in Goleston's Saadi. The theoretical framework of this research is to outline and discuss issues related to this theory and its relationship with "It" such as ethics and confrontation with others, responsibility towards others and the subject of the body, self-care and the subject of self-control (Normal punishment), the responsibility towards the other and the matter of "saying" is reserved. Our selected data are the eight stories of "It" according to the characteristics such as having a narrative plan, the presence of participants, physical and dramatic behaviors, the type of discourse, the formation of a contradictory situation and the control of the body based on light and heavy punishments.

It seems that the moral discourse and related concepts communication have a significant reflection and they are presented in an ideological application in Golestan Saadi. Most of the professors know Saadi as a teacher of ethics. According to the Iranian-Islamic moral discourse, the morality that originates from Saadi's mentality is gentle, tolerant, dependent on conditions and situations, or according to Jan Ripka, it has a slippery truth. Considering the social and political conditions of his time, He pays attention to the review of ethics and education is a necessity. In His ideal society, we are responsible to others and our happiness depends on their health and morals. In fact, it depends on the actions of others that we reach happiness and excellence; In his thought, a person knows and understands himself with the help of others and becomes his own happiness. In fact, his desire is realized by looking at the "other".  "Other" is not an obstacle, but it is also a mirror that makes you realize your flaws and our peace and security depends on his peace and security. Philosophy of him is that all humans have a body that their pain or happiness is dependent on each other and happiness are dependent and taking care on another. This research tries to reread Saadi's moral discourse from the perspective of Levinas and answers the following question:How is responsibility towards others and self-care represented in Golestan Saadi?What is the relationship between self-care and responsibility towards others in Golestan Saadi?What is the discourse reflection of responsibility towards others and self-care in Golestan Saadi at the level of language?

Saadia's Golestan is one of the prominent texts in the field of ethics, in which attention to otherness and otherness is expressed in an application and dialogue-oriented process with an indirect expression. Attention to others in "it" has the following characteristics: 1. It has caused the formation of moral discourses and concepts related to it, such as hypocrisy, restraint, contentment, miserliness, bullying, education or silence, ignorance, extravagance, etc. 2. Paying attention to others in "it" requires the application of restrictions and control of the body, so that a huge amount of dos and don'ts in the form of moral discipline finds meaning in the form of self-care. Efforts towards humane correction along with punitive techniques are part of this discipline and control of the body Saadia knew that the issue of responsibility towards others has a spiritual horizon and its explicit statement in the form of a mere norm or code ethics is not very effective, so he represented it with an artistic language in the form of the following characteristics: a. The confrontation of two contradictory characters or faces, each of which represents a desirable moral concept and the other an undesirable one. b. physical behaviors; That is, a moral vice such as "hypocrisy", which is a kind of dualization of behavior, is made concrete and conceptualized through theatrical aspects. c. The process of "telling" with features such as physical encounter, character dialogues, theatrical behavior, encountering an incident and punishment has created a dynamic and lively context. d. Standardized punishment with light and heavy punishments has helped to reject the behavior. Therefore, in Saadia's Golestan, every moral concept of the passage of the body is made tangible and represented for the audience in an experimental and dramatic way. In this way, the narrative structure of each story is processed in two situations. The first stage is showing the physical behavior of the subject or otherwise, and the second position of the subject is facing an incident, which eventually returns to the state of balance with punishment.

Cultural context is one of the topics discussed in semantics which has great efficiency in understanding the text and in particular literary texts. Each text derives from individual and collective thought and culture in which some of their vocabularies contain special cultural discourse that translates into fundamental challenges. Discourse and the discursive attitude of the text are considered along with the texture and its constituent elements and in particular the cultural elements. In this research, we are looking to search and analyze the discourse vocabulary in Sadi’s Golestan and its Arabic translation by Mohammed Al- Furati. Therefore, with the descriptive-analytical method, we have considered the vocabulary from the point of view of the context and cultural discourse. In Sadi’s Golestan, there are words that play vital roles in the formation of meaning and semantic identity of the text such as Rand, Darwish, Parsa, the Lords of the World, and Qalandar. Due to the context and cultural discourse of Golestan, Saadi has somehow played the role of the deep meaning of his personal culture.

On a considéré la première traduction du Gulistan de Saadi en français par André du Ryer en 1634 comme un tournant dans l’histoire des échanges culturels franco-iraniens. De ce point de vue, cette première traduction d’un chef-d’œuvre persan en France est très importante ; elle fait connaître Saadi et son Gulistan non seulement en France, mais aussi dans le monde occidental. Autrement dit, c’est l’œuvre qui initie l’Occident à la poésie persane. Cependant, en lisant attentivement le Gulistan ou l’Empire des Roses, nous découvrons d’abord que cette œuvre n’est pas une traduction complète et qu’ensuite, elle porte de fréquentes et graves erreurs de traduction. L’objet de notre article est d’étudier les défauts de cette traduction imparfaite, à savoir sa monotonie (la présentation matérielle du texte original non respectée), les ajouts, les suppressions et les modifications injustifiables (ceux qui dénaturent complètement le sens des idées de Saadi, allant parfois jusqu’à les contredire) et le contresens dont les exemples ne sont pas rares dans l’œuvre en question.