Feminism criticism is one of the literal critiques which investigate and study the relations between literal texts and feminism ideas and shows how close is the women given image to their real image. Sahar Khalife, contemporary Palestine author that was so influenced by feminist ideologues, imposed her feministic ideas to "Lam Noad Javari Lakom", (We Will Not Be Back Next to You) novel. The peak of such impression was adapted from Simon De Boar, the French famous critic and ideologist. Sahar Khalife established the characters of her novel based on the effects of De Boar feministic point of view on society culture and exploiting social attitude. The current study reviewed the mentioned novel via a descriptive-analytic method concerning De Boar feministic point of view. The results demonstrated that the author occasionally represented her novel women characters as passive, dominated, surrender, enthusiastic, timid and traditionalist. She sometimes introduced the women as anti traditions and.. as a result of De Boar liberal feministic point of view as well.

The symbols linked to the world of dreams and consciousness are considered the psychological issues which are functioned in the plot of modern novel. Then, modern novel is a kind of interior monologue by the characters who are expressing non coherent ideas from their past and present which is called stream of consciousness. This is a narrative device that attempts to give the written equivalent of the character's thought processes, either in a loose interior monologue or in connection to his or her actions. This writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in thought and lack of some or all punctuation. The stream of consciousness and interior monologue are distinguished from dramatic monologue and soliloquy, where the speaker is addressing an audience or a third person, which are chiefly used in novel. in stream of consciousness, also known as interior monologue; which is a narrative mode or device that depicts the multitudinous thoughts and feelings which pass through the mind. the novel “Mᾱ tabaqqᾱ lakum” (what is remained for you) by Qassᾱn Kanfᾱni and “Shᾱzdeh Ehtejᾱb” (Prince Ehtejᾱb) by Hooshang Golshiri are narrated by of stream of consciousness and this technic is seen in the prementioned novels in the influencing of concerns and activeness of tension in the dreams and the psychological damaged in the characters of story. Qnfani in this novel deals with the issue of occupation of Palestine while Golshiri presents a person (Shazdeh Ehtejab) who is at the verge of dying. The two novels had the common points in plot, so the characters in both, are concerned to their own interior world to such an extent that the dispersed ideas of the character are dominat on the narration. This research at first, aimes to put light on the style of stream of consciousness in the two novels and clarify how the authors could make themselves free from the criterias of the common plot. The second aim of research is comparing the contents and mental actions of narration. The result indicates that the function of stream of consciousness in the both novel is same in general. But in details there are some differences like the time of the novel Shazde Ehtejab is during one night and the addressed ones, during the novel, become aware of the past of the main character by following the dispersed narration presented. and the content time is intertwined with the mental time. Bothe novelist doesn't present themselves directly in the novel and characterization but take a neutral positon in actions of story, so the characters have the main role in narrating of story and the main narrator is free in telling the actions of novel without accepting any intervention from outside of novel.

In the following article, the authors have extracted, classified, and analyzed syntactically and rhetorically the types of usages of the pattern "ma (interrogative) + lam (preposition) + pronoun or demonstrative pronouns) in the Holy Quran, and then examined the Persian translations of these examples from two perspectives; One is the conceptual correspondence with the syntax of the sentence and the other is the degree of benefit from the rhetorical points of the source text. The results of this research based on report and analysis show that the translators often understood the message of the text correctly and included it in the target text, although they may not have a correct argument or analysis in defense of their translation. Also, sufficient linguistic knowledge in the languages of both sides of the translation closes the way to baseless criticisms and on the other hand, it helps the translator to have more authority in his translation.