مجله پژوهش در ادبیات کودک و نوجوان
پیاپی 1 (پاییز و زمستان 1398)

Namaz/ Praying is the most basic duty of any Muslim and it’s considered as one of the foundations of Islam religion. Therefore the best time to get to know it is childhood. The teaching process begins from the family but considering that Iran is an Islamic country other foundations of the society can also play a role in teaching Namaz to the child among which there is children and adolescent magazines and journals. These journals have allocated some pages to teach Praying to children and adolescents given the religious approach of the community and the specific characteristics of the audience. In this paper some journals and magazines which were published in 2001-2006 were selected and analyzed using descriptive-analytic method. The results have declared that reviewed journals have used two types of narration in order to getting the audience to know Namaz: Prose and Poetic formats. Teaching Namaz, expressing the beauty of praying, encouraging the child to do the praying, and the right way to do it and stating the commandments about praying are included among common various themes in these proses and poems.

The term " fable” in dictionaries has been used as the synonym for words like ‘tale” and “myth”. It literally refers to the adventure or imaginary events, animals, birds, or illusory beings like demons and fairies. Fables include moral and instructive lessons told some times for enjoyment and the entertainment of the audience or readers. Fables in Iran are an important part of the rich folklores. This heritage has been descended to children and young adults of our time and it is present in the literature. Since the literature of kinds and teenagers has own goals, we aim to analyze some examples to compare them with the goals of children’s and literature through a case study.

In Persian literature, the archetypical criticism is considered as a modern one. It is founded on the psychoanalytical criticism based on the opinions of the Swiss psychologist, Karl Gustave Young. The main purpose of the present research is to find out and define the implications for proving the archetypes existing in the young adult’s novel “The fairies of Liasend Maris” by Tahereh Eibod. Furthermore, the functions of archetype are illustrated in the secondary level of the text. In this story, many of the symbolic concepts including voyage centrality, the criticality of numbers three and seven, receiving invisible blessings, Mandala and the archetype of ‘’child’’ in archetypical situations, the archetypes are basically regarded as the inheritable capacities and concepts which have been existed in our mass unconsciousness before we become aware of it. They are conventional for all humans regardless of their race and culture. The myths and fairy tales have similar and main motifs in the literature of the world and Iran which are remarked as archetypes. Notably, the archetypical criticism is also called the mythological criticism. The archetypes are sometimes reveals in different natural symbols to reach consciousness and they are reflected in the artists ‘works. The analysis of archetypes in literary texts is actually removing the apparent layer of each text so as to reach the deep structure and the second and invisible layer of that work. Affected by her unconsciousness, Tahereh Eibod has consciously and evidently applied the archetypical symbols in the fairies of Liasend Maris novel. That is why, the novel has not been artificial.

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.

Children’s and juvenile poetry is a literary genre which, due to its audience-centered nature, has a unique linguistic system, separating it from adults’ poetry. This linguistic system, well-suited to the child’s cognitive growth and his epistemological field, finds a structural-semantic body. The coming into being of this body becomes possible through the analysis of semiological-grammatical categories, such as semantic and syntax, semantic field of words, norm violation, linguistic coherence devices, literary language, verb modality, propositions, etc. Therefore, in this research, we chose the poetry collections of Naser Keshavarz, composed in 70s, 80s, and 90s, and for the A, B, and C age groups. We introduced and reconstructed the body of his poetic language through the use of a statistical, descriptive, and analytical method, and showed that Keshavarz’s poetic language has reached a high level of truth-reflection due to proportionality of his linguistic system to his audience and their cognitive growth in categories including verbs, adjectives, syntactic pattern, and literary language. Another finding of this research was the evolution of Keshavarz’s language through the three decades. His poetic language in 80s and 90s (compared to 70s) finds features such as simplicity, concreteness, enjoyment, and narrativity, due to a more precise audience analysis.

Children's literary works should be presented in simple, fluent, and beautiful terms - many valuable subjects that are not well-inducted because of incorrect expression. High religious concepts such as monotheism, resurrection, prophecy, mosque, prayer, martyrs and social and ethical concepts such as friendship, cooperation and cooperation, salutation, purity, etc. Sometimes in an inappropriate and non-artistic and expressive structure and instead of affecting , Cause evasion and avoidance. A critical look at the themes of children's and adolescent works can be examined from two general perspectives; sometimes the authors of this field, rather than focusing on the needs of the audience, merely create a work for the purpose of preparing and educating it, writing such purely educational works. And the nutritious and delectable elements of it will not match the mood of the audience. Another critical look can be found in the theme of children's and adolescent works. Some writers, regardless of their audience comprehension power, produce a work that is beyond the child's ability to understand; it is obvious that any concepts and themes are not at the level of the audience comprehension.
The researcher critically examines some of the inappropriate or biased uses of the theme in children's works and believes that the literary works of this group should be given serious attention because these audiences have not yet reached a level of understanding that will allow for complex literary works. Understand. The descriptive-analytical research method and data collection are often library-based.

Lullabies are a type of popular literature that are dating back a long way. Although the frequency of using lullabies has varied in different periods, it has continued to exist because lullabies have always been a fundamental need of mother and child. On the one hand, the combination of the mother's pleasures and the constant repetition of the lullaby's crisp sounds provide conditions for the child to sleep better, and on the other hand, the maternal satisfaction of the mother's need to communicate effectively with her child and her mental relief. Despite of the persistence lullabies over time, the way of the storytelling has changed more than anything else, which has led to a change in lullaby content. In this study, we try to study the differences in the way of presenting the narrative in the past and present lullabies in a descriptive-analytical way and to achieve this goal; we are investigating lullabies in terms of presenting the narrative, narrator, time course and the dominant motifs during Lullaby's fictional retelling. From this article it follows that by restructuring the traditional narrative, the child becomes a dynamic actor who sometimes even becomes a lullaby narrator himself. Child Narrative and child attention to mother and adult narrative in Early Lullabies has provided a happier atmosphere for past lullabies. In addition to changing the narrative retelling style, the narrative trajectory of the past and the future, which has been the dominant mode of ancient lullabies, is shifting to the present and the present, and the dominant motifs approach the urban life that is the predominant form of contemporary living.