نشریه ادبیات پایداری
پیاپی 26 (بهار و تابستان 1401)

Addressing the memories of the freedmen can be useful from different aspects. On the one hand, by keeping their memory alive, drawing the space they experienced and the experiences they left behind helps to understand the conditions of captivity and can be used in the field of training soldiers, and on the other hand, paying attention to these characteristics, conditions and various consequences of captivity lead to a better judgment regarding the requirements of this situation and paying attention to the strategies of captives in order to adapt as much as possible to the prison environment. It is obvious that in this case, the view combined with sanctity and free from any weakness in all prisoners of war becomes a comprehensive view that shows the beauties and ugliness of the phenomenon of captivity during the war in an authentic way and relying on documents and First-hand narratives expose the audience to recognition and judgment.War is one of the most complex social phenomena that strongly affects societies, and its effect includes all systems, sub-systems and social institutions. Therefore, war is a group conflict whose most important feature is the order and organization that governs it. One of the hidden sections in the sociology of war, which gradually emerged as an independent field, is the sociology of the armed forces, whose mission is to discover the relationship between the armed forces and the society, the structure of the armed forces, and subculture of these forces. The present research can be considered one of the few efforts in the field of sociology of armed forces in Iran. To do this, by adopting a quasi-phenomenological approach, an attempt is made to investigate the memories of Guilani prisons of war to the common themes in the intersubjectivity of these people, and to turn the apparent plurality and diversity in their narratives into the axes of coherence. and to centralize it so that it is possible to draw the image of captivity as experienced by the main body of prisoners of war.

The method used in this research is thematic analysis developed by Clark and Brown. The steps they want are (1) "familiarity with the data" which requires "immersion" in the data and includes tips such as "reading the data repeatedly" and "reading the data in a is active. During this stage, the researcher tries to get a correct understanding of the atmosphere governing the text and the relationship between the concepts by referring to the materials several times. (2) careful study of the text and extraction of primary codes; (3) "Searching for themes" which includes the categorization of different sub-themes in the form of sub-themes and the initial integration of these sub-themes based on theoretical foundations; (4) "revision of the themes" which includes the review and purification of the themes and gives an initial and coherent narrative for validating the themes; (5) At this stage, "naming and defining themes" takes place, which is done by relying on the following examples of each theme to answer the main research question and design the final model; and (6) the final stage of "presenting the report" which includes the final analysis and writing the results and findings. In the interpretation of some, "stability and resistance is an absolute concept that belongs to various phenomena and gives them color, smell and shadow of specific meanings. This approach is related to the works related to the memories of the prisoners of war, which on the one hand express raw narratives, or on the other hand, by creating novels based on these narratives, to create stories in the context of the experience of captivity - as imagined It could have existed - they take action. The present text is an attempt to go beyond this duality in order to sociologically examine memories of war prisoners and extract themes hidden in raw memories.

In this research, by using edited oral memories, we tried to extract the hidden themes in the narratives of Gilani prisoners of war from the years of captivity. In this way, the main focus is on the "topic", which gives a different analysis from the content analysis. One of the main elements that distinguish the stories of war and holy defense from other stories is the theme... the authors have moral and didactic concepts such as martyrdom, self-sacrifice, and courage. and veterans and such concepts have tried to pay their respects to the warriors of the eight years of holy defense. The themes investigated in this research are "resistance", "in-group and out-group", "Sacrifice", "Endeavor", "Religious sensitivity", "Compatibility with conditions", "Tolerance and bigotry".The experience of war and captivity can be considered as one of the unique and exceptional experiences that usually a small part of the population of a country experience it. During the Iran-Iraq war, the experience of being in the prisons of the Baathist regime became a common memory of Iran's prisoners of war. As mentioned, the purpose of this research is never to try to integrate the memories of these prisoners. Captivity is a unique narration that every person looks at from the window of senses, personality, circumstances, family and religious origin and many other factors. The aim of this research was an effort to extract the common themes hidden among the existing scattered materials. Among the various examples and manifestations presented, conflicting and possibly contradictory content can be seen. A person confidently states that among the people belonging to his tribe, province, or religion, there was no informer or self-soldier, and another person speaks of the punishment of one of his fellow provinces for being an informer. Someone portrays Iraqis as completely uncompassionate and cruel people, and another speaks of the devotion of an Iraqi to Imam Khomeini, which makes him more tolerant of Iranian prisoners. On the one hand, we hear about the insults and insults of the common people of Iraq, and on the other hand, we hear about their tears when they meet the captives and the hands that are stretched over the heads and faces of the captives as a sign of blessing.Also, with a more detailed look at the data, one can see elements and components that are precisely due to people belonging to a specific subculture. It's as if being a Gilani or a Gilak meant acting on certain behavior patterns or thinking in acertain way. Sometimes, referring to the rainy climate of Gilan, being in Iraq is considered to be a double difficulty for the people of Gilan. Sometimes, the torture of prison guards is depicted as more painful than providing them with water for drinking and washing. Sometimes Gilaki language is used as a tool and media to express what "can't" be expressed in Persian language. Sometimes, being deprived of drinking tea, which is considered as a kind of public torture, is considered more painful for a Gilani, and finally, although it is not possible to issue a general and definite verdict about all the prisoners and even the Gilani prisoners, but by studying In all the published memoirs, the impression is formed in the mind of the reader that the culture of moderation and moderateness was common among the Gilani captives, because on the one hand insulting other cultures and in some way self-superiority is evident in the studied texts. It doesn't work, and on the other hand, there is no code that can be considered extremism and religious extremism.As mentioned, the main (comprehensive) theme of this study is "the lived experience of war and captivity". In the second level, the organizing themes include epic spirit, reactions to issues, humanitarianism, values, freedom, approaches based on violence and rupture. It seems that the experience of war and especially captivity can be explained and interpreted to a large extent with the help of these components.

The title of a book plays a pivotal role in grabbing the attention of the readers. Selecting the right title is one of the most challenging tasks carried out by authors. Authors may spend a lot of time or they may even think for many days on choosing a proper title for their work. In the same line and to the same extent, presenting an appropriate translation for the title is deemed a demanding and time-consuming task on the part of translators. The present paper aims at investigating various techniques being employed in rendering the title of resistance-literature books and presenting strategies which has not yet referred to in already existing models. In fact, the findings of the study can be considered as a step towards boosting the current models dealing with translation of cultural works titles. Yin’s (2009) model was initially used for data analysis. The model is comprised of the following techniques:(A) Transliteration: it refers to the process whereby the translator writes the source-language term by employing the alphabetical letters of the target language. If translators resort merely to this technique while encountering culture-bound-concepts or culture-specific-items, their target audience will not understand the meanings underlying the concepts or terms, and, consequently, translation loss would be unavoidable under such circumstances. (B) Literal translation: translators, by utilizing this technique, attempt to select the closest possible equivalents to the titles of the source-language text. (C) Explication: when the tile of books, mainly literary works, include allusive references which resist being rendered by simply resorting to Transliteration or Literal Translation, the technique of Explication might work perfectly. This technique is almost always accompanied by addition; therefore, the number of words in the target-text title often exceeds that of the source-text title. The additional information sometimes appears within parentheses. (D) Adaptation: in this technique, translators manipulate the cultural references in a way to be simply understood by the target readership. This technique is absolutely target-oriented and the translator prioritizes the target language and the target culture and treats them as being more important than the source language and culture. This technique entails the replacement of, for instance, a proper name (PN) in a source-language title with a target-language PN which brings to the minds of the target readers the same (or, at least, similar) qualities or characterizations of the original PN. (E) Providing a new title: this technique is employed when translators create a new (but related) title merely based on their intuitions or their creative minds.    However, since there were a number of techniques unmentioned in Yin’s (2009) model, some other strategies, including Generalization, Particularization, Calque, Omission, Partial shift, Interpretive shift, and Couplet were taken into consideration while analyzing the data. The technique of ‘Providing a new title’ was found to be the only translation technique which had never been employed Furthermore, as the findings revealed, the two techniques of ‘Literal Translation’ (by 63%) and ‘Transliteration’ (23%) were the most frequently used techniques by translators of the titles of resistance-literature books.

Political and social transitions after the revolution and the imposed war leaded the atmosphere of the society to a trend towards a sort of literature of endurance and perseverance called holy defense literature and holy defense as a great event in the history of Islamic revolution caused deep transformation in literature of Iran specially literature of perseverance. Undoubtedly literature of holy defense as a branch of the literature of perseverance has distinctive characteristics that separates it as a special type of literature from the other types. Survey and analysis of the poems of this type from various points of view has particular importance. One of the fields of survey is the presence of the prominent characters of the holy defense in poems of the poets that are introduced as the emblem and symbol in literal texts. In this study the poems of Isfahanian poets were selected. Isfahan is a city which played an important role in war and play of its citizens and the bravery of its commanders is not covert to anyone. The poets of Isfahan also enjoyed from this spiritual prop and created prominent artworks. Great martyrs as the significant emblems of the holy defense have significant effect in poems of perseverance and Isfahanian responsible poets express their thoughts through naming the innocent chivalrous emblems in their poems and retell their dramatic direct and indirect effects. Emblems are the people that because of their specific moral, cultural and social characteristics deserve to be the model by other people. Thus, seeking these moral treasures among the literal texts and poems is a big opportunity to know the effects of these emblems in individual and social aspects to display their role and influence in literature more than before. Therefore, this study which has been done in a descriptive-analytical way is supposed to survey and analyze their most important effects and reflects their practical role in developing human character and prosperity and the society identification. Through Studying these poems among the works which they have collected the holy defense poems of Isfahan and the available collections in this field, the main impacts and transformation that these precious emblems had on poetry and the holy defense literature of Isfahan and even Iran, we can infer these results Generally the impacts are classified into 8 groups: 1. Cohesion and replication with the national, religious and historical emblems 2. Keeping and reviving the religious national and historical identification 3. To motivate and stimulate the emotions 4. To keep the homeland, Independence and national honors. 5. Showing the emblems as national honor 6. The effect of religious emblems on beliefs and behaviors of holy defense symbols of Isfahan. 7. The youth emulation of emblems, warning and informing them 8. Bond with romantic mysticism.

In this article, the topic of ideology has been explained, then the necessity of examining the effects of child and adolescent stability from the perspective of ideology and the examination of overt and hidden ideology, as well as theorists' opinions about ideology, have been given. Ideology is the creator of our experimental world, the creator of our world itself. Ideology helps people to recognize themselves in the world and gives them a special kind of knowledge. It can be said that man cannot escape from ideology; Because ideology is present in man's unconscious and plays an important role in his representation of events and incidents in an imperceptible way. Therefore, it is necessary to pay attention to the audience of the texts, because they can grow up under the influence of ideology, and since the audience of children and teenagers is not aware of the ideology in the texts, therefore the authors of these texts should Pay attention to this point and pay more attention in creating works related to this group of audience Children's literature is seriously ideological and the contents of books have the ability to be examined from the point of view of attitudes, values ​​and opinions. These ideologies are found in these books in an open and hidden form. Explicit ideology may show itself in an internal form. But the hidden ideology is displayed in the form of social structures, intellectual or hypothetical expressions. In fact, ideology can be examined as an aspect of the content and subject matter, and since this content and subject matter is very important in children's literature, The current research aims to investigate this aspect of meaning by looking at two novels of adolescent persistence published by the Children and Adolescent Intellectual Development Center. In this research, the following questions have been answered that the dominant ideologies of teenage novels published by the center of intellectual education are overt or hidden, and whether dealing with social values ​​in these works is one of the concerns of the authors of teenage novels or the concerns of the audience? 2-MethodologyThis kind of research has already happened in the form of content analysis of printed books. However, directly dealing with the hegemonic aspect of the overt and hidden ideology of adolescent stability novels is a new work, and it is hoped that by doing it, a solution will be provided to the authors to provide new content and meanings needed by children and adolescents. Therefore, the present research has analyzed two sustainable novels from the publications of the Children and Adolescent Intellectual Development Center from the perspective of overt and hidden ideologies based on Althusser and Gramsci with descriptive-analytical method. In this research, it was found that most of the values ​​discussed in these works are honesty, sacrifice, defense of the homeland, etc., which have occurred in these novels in the form of obvious ideology, which is a concern of the authors and the structure. Dominant education returns to the society. Among the hidden ideologies of these books, we can mention the attempt of the dominant or superior forces to maintain their rule over the subordinate society through educational and coercive structures. 3-Discussion Sociology of literature defined the science of studying and knowing the content of literary works and the psychological and social origin of their creators as well as the lasting impact these works have on the society. In fact, the sociology of literature is the scientific study of the content of the literary work and its nature in connection with other aspects of life. The authors intend to reflect the ideology in the novel according to the opinions of these two theorists, although these two theorists are representatives of materialistic thoughts and the authors of the mentioned works, due to the connection of these works with the values ​​of sacred defense, do not only reflect materialistic thoughts, but also a common feature. It is the defense of human rights based on justice. In the general classification, it can be said that although Gramsci divides hegemony into political and civil parts, in these two works, the manifestations of civil hegemony show more than political hegemony; It seems that writers tend to be hegemonic representatives of cultural institutions and have an informative and positive function rather than a repressive and negative function, which, of course, has an influencing role in children's literature; Therefore, the hegemony of the ideological apparatus of the state through institutions prepares the society to accept the ideology and flaunts its power through educational systems. It seems that in this era, the hegemony of religious and moral institutions has the first place, and after that, the hegemony of educational institutions is manifested in two novels. There is only one case of political hegemony in our era, and that is in the novel Ladder to the Sky, where the repressive apparatus of the government is used to pay taxes. Therefore, political hegemony targets individuals. Of course, due to the religious identity of the Islamic Republic of Iran, sometimes we witness the merging of these two religious and educational institutions, and sometimes it may seem that educational institutions are also representatives of religious institutions. It seems that the increase of religious hegemony in this era is compatible with the themes of stability and holy defense, because holy defense represents religious and religious values.  4- The result As it was mentioned, ideology is a collection of ideas and thoughts that is associated with a general plan. This program can guide individuals and groups on a smaller level and governments and political powers on a larger level towards what they call the ultimate goal. In fact, ideology is, in a way, knowledge of ideas. Thoughts applied by groups that dominate society and individuals and seek to prove the legitimacy of the group that benefits from the desired ideology.Literary texts and works, as one of the tools that can promote and spread ideas and thoughts, have always been of interest to groups and governments and have been used in the educational structure of governments. In this article, which was written with the aim of examining the hegemony of ideology in selected texts, after examining two novels of adolescent persistence, published by the Center for Intellectual Development of Children and Adolescents, it was found that in all these novels, ideology is evident. The hidden ideology has prevailed and maybe the authors have preferred to use the overt ideology because of the age of their audience.In fact, what has been considered by the writers the most is the promotion of moral and religious values ​​such as sacrifice, patriotism, respect for parents, persistence in the face of oppression, etc., and this shows that the writers are less Addressing the real concerns of teenagers, they wrote the mentioned works based on the ideological needs of the society.

Ashura, as a great and unique event, has always been in the center of attention of Persian literature poets. All poets, ranging from Kisai Marvazi to the poets of our time, have addressed this event from an angle. Aside from the individual characteristics, the poet's view of Ashura is subject to his life era in terms of cultural, political, and social conditions. Ashura and its teachings are among the most important issues manifested widely in the contemporary poetry of Afghanistan. The current paper aims at investigating how Ashura events are reflected in contemporary Afghan poetry; it also deals with the case study of the impact of Ashura concepts on the poetry of Qahar Asi, an Afghan Sunni poet. The research is a theoretical study whose data was obtained in a library method and was done in a descriptive-analytical way. Studying the contemporary poetry of Afghanistan with the aim of investigating the effect of Ashura on it, one can find that apart from the lyrical aspect and the emotional layer of the events of Ashura, reflected in the elegies and love towards Imam Hussein (A.S.) and his companions, the epic and didactic layer of the Ashura uprising and concepts such as courage, freedom-seeking and not giving in to abjection are prominent components of resistance poetry of Afghanistan. Also, analyzing Qahar Asi's poetry, it can be concluded that Asi used Ashura concepts to counter despotism in his time and presented the Ashura uprising as a role model to save Afghanistan. ‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌The political, social and cultural situation in a society is undoubtedly the most important factor in the formation of literary genres in that society. Contemporary Afghanistan has always been affected by civil wars and foreign invasion; and fear and threat have always dominated people's lives. Such a situation naturally leads to the formation of literature of resistance. The poetry movement in such a time moves towards freedom-seeking and anti-tyranny role models; and relying on the people’s religious and pure belief, the poets address the redemptive role models and their goals in an effective way. Therefore, the presence and influence of Ashura in the poems of contemporary Afghan poets is very conspicuous. The impact of the Ashura uprising on the contemporary poetry of Afghanistan is not limited to Shia poets; Sunni poets consider Imam Hussain (A.S.) as a role model for seeking freedom and fighting against oppression and have addressed this event from different viewpoints. In the meantime, Qahar Asi, one of the great Sunni poets of Afghanistan with a trans-religious perspective, introduces the uprising of Imam Hussein (A.S.) and the Yazidis war against him as two continuing paths. He believes that these two paths have their followers at any place and time and that the same division, depicts the chaotic and critical situation of contemporary Afghanistan. Asi is a dissident and critical figure in the contemporary poetry of Afghanistan. As a committed poet, he is always dissatisfied with the conditions of his time and many of his concerns are expressed in the form of poems of resistance. The spirit of such poems of Asi poems is interwoven with the aims and teachings of Ashura. He suffers from the problems of people all over the world, especially in Afghanistan, and introduces Ashura as the savior version of mankind. Thus, it is very important to study the reflection of the aims, teachings, and concepts of the Ashura uprising in his poetry. Therefore, the perspective of Ashura in the contemporary poetry of Afghanistan is quite different from that of poets such as: Kisai Marvazi, Sanai, Nasir Khusraw, Abdul-Qādir Bedil and Mohtasham. This viewpoint may even be different than the perspective of contemporary non-Afghan poets. Contemporary Afghanistan has always been involved in devastating civil wars and foreign invasions, which has pushed poets to focus on the epic aspect of the Ashura uprising and the concepts of anti-suppression, freedom seeking, and avoiding abjection more than the tragic aspects of it. Among contemporary poets, Asi – who is known as the Poet of Freedom – wishes to see his people and land free and to achieve this dream, he chooses Imam Hussain (A.S.) a role model. Towards the end of his life, Afghanistan’s civil wars started, which also brought about religious tensions. Despite being a Sunni, Asi introduces the messages and goals of Ashura as the way to freedom and getting out of the existing situation of his time. In other words, Asi has used Ashura for to awaken his society. In this article, first, the impact of Ashura on contemporary Afghan poetry has been studied and numerous examples have been provided, and then, Asi's poetry has been analyzed with regards to Ashura uprising (goals, messages, role models, etc.)

The Myth is the most significant embodiment of imagination in a language, narratable, visual, and culturalized symbol partially associated with ontological and cosmological reality and, in part, related to national beliefs. With their characteristic recurrence, myths have an intertextual nature. Hence, their reproduction in different works throughout history. Based on their knowledge of this potential to represent resistance-related matters, Afghanistan's resistance poets have benefitted from the symbolic aspects of myths.One of the Afghan poets who extensively draws on resistant imagination and mythical recurrence is Wasef Bakhtari. He recreates myths with measured language in a symbolic and multifaceted fashion, voicing its protest vis-a-vis the established political autocracy and the aggressors.

The present study seeks to revisit the role and function of mythical figures in Afghanistan resistance poetry to analyze how mythical elements are reproduced in Wasef Bakhtari's resistance poetry using a descriptive and analytical methodology and an intertextual approach based on Gérard Genette's ideas.

As myths need literature and art to survive, poets undergird their works by tapping into the potential of myths. By doing so, they have given life to human civilization, mythology, and culture while immortalizing themselves. Nevertheless, poets do not employ mythology solely for aesthetic reasons. Instead, as demonstrated by a significant strand of cultural studies, they sometimes do so to communicate political and social messages. In particular, the symbolic language of myths helps poets expand their words' meaning-making capacity by using intertextual references. Contemporary poets engage in literary creation and beautifully recreate, revisit, and rewrite myth to fend off contemporary de-mythicization and transfer human experiences in ancient ages. By doing so, they seek to contribute to the preservation of their authentic identity and culture. This study discusses mythical figures in Wasef Bakhtari's resistance poetry. Although the scholarship on mythology is prolific in Iran due to its interdisciplinary nature, as far as this research shows, there is yet to be a book or article written on the subject of "Revisiting the Role and Function of Mythical Figures in Afghanistan Resistance Poetry. " The extent and frequency with which Bakhtari uses myths and mythology in the context of resistance calls for a comprehensive study. Therefore, this paper undertakes a methodical analysis of myths in Wasef Bakhtari's resistance poetry.

The present research suggests:Most myths reborn in Bakhtari's resistance poetry are among national myths whose intertextuality is primarily implicit. However, it also appears as allusions, quotations, and explicit referential intertextuality.For Wasef, myth is an instrument for the audience to rethink their identity. He mobilizes the persuasion potential of the myths to foster a sense of national self-confidence and provoke social movements against domestic authoritarianism and foreign aggression. He relies on myths to reinforce his epic and resistance positions and stir collective emotions, calling on their audience to battle the political repression and autocracy of the rulers and the aggressors. Moreover, Wasef uses national myths to depict themes related to resistance. The most critical themes that Bakhtari reflects in his poetry with the aid of national myths due to their resistance theme include the Red Army's attack and the prediction of its disgraceful failure, betraying the fighters, the country's anarchic conditions, and its relation to the poet and his people, the collapse and disappearance of all material and spiritual values, the unprosecuted killing of brave young men, political despotism and tyranny, hope for improvement and the end to the reign of the despots, schism, and division resulting from egocentrism, describing the martyrs, reprimanding the warriors for participating in civil wars and political and social corruption.Wasef Bakhtari has devoted his attention to recreate the narratives and figures of national myths. Remarkably, he has focused on the personas of Rostam, Siavash, Zahhak, and Kaveh to epic potentials of mythical narratives and figures to entice the public to create national resistance movements to combat domestic despotism and foreign aggressors. Even though the reflection of mythical narratives in Bakhtari's poetry is of aesthetic value, myths fulfill a political and resistance function in his poetry to communicate political and social messages based on a critical approach.

For the past two decades, cognitive approaches to the question of language and literature have given metaphor a different function and nature, according to which metaphor is not just a literary array or one of imaginary forms, but an active process in human’s cognitive system. The importance of metaphor is not just in the use of a word, phrase or sentence; Rather, each metaphor creates a cultural model in the mind on which the chain of behavior is programmed. From this point of view, conceptual or cognitive metaphor is formed according to the human need to understand and represent phenomena, relying on the construction of previous words and information, and plays an important role in the flow of thinking. Therefore, the definitions, extraction and study of these types of metaphors from any text cause our understanding of the narrator's mental world to be accurate and deep. In this research, the author has studied the conceptual metaphors and cultural schemas in the male narratives of the sacred defense in a descriptive-analytical and library method. The results indicate that in the works of the Holy Defense as an example of contemporary poetry and prose, a variety of conceptual metaphors with specific areas of origin and writings can be found that the power of imagination and the abstract thinking of poets and writers. It identifies such works. The researcher seeks to answer the question of how the

In the 19th century, realism became the recommended and popular style of writers due to the seemingly accurate visions of the advancing capitalist life. Balzac's revolutionary views on narrative detail did not last long, and writers changed the conventional boundaries of his "primitive realism" in the modern era to combat the repetitive and dull aspects of description. With the theory of habituation and defamiliarization for innovation, they took a big step in the description technique in writing (Fowler, 2015, p. 85). In the field of using narrative elements in the works written in a realistic style, the author created a non-linear way by twisting time and emphasizing serious facts through the fluid flow of the mind. In this way, a suitable platform was provided for the reader to actively participate in creating the image of the story. In most of the non-linear narratives, the author tries to break the parallel lines of the narrative and take the reader's curious mind to the hidden corners of the causal logic of the images in order to provide a multifaceted space to discover the margins and contexts of the events and actions of the characters. In addition to that, new elements in the story routine and the text routine called anachronies emerged through flash forward and flash back, the intertwining of imagination and reality and other innovations in the narrative of the story, so that the scope of transformation to expand the species of Realism. The story "I don't love Afsaneh " written by Maryam Moeini has three intertwined narratives. In the first narration, Muhammad Ali and his family go to his aunt's house to propose to her and hear a negative answer. The second story is related to Farvardin 1367 and the fall of Faw. This city was conquered by the Iranian forces in 1364, Mohammad Ali was one of the forces that came from Faw to the coast of Arvandroud during the retreat of the Iranian forces in 1367, but he was injured and took shelter in the middle of a swamp with piles of reeds for 45 days. . In the city, they hold a ceremony for him as a missing body. Muhammad Ali resists by eating palm leaves and flowers. Finally, he decides to bring himself to Iran with a depreciated float. The third part of the story begins with entering his front and how the commanders faced him with hesitation. After the opacity and doubts that arose, people's acceptance of him adds to the suspense of the story, but still the legend and then people avoid him by calling Muhammad Ali crazy.

Non-linear realism, unlike realism, seeks the knowledge of the world within the human being, so the narrative world and its actions become more visible in the novel by intertwining time and emphasizing facts through the fluid flow of the mind. In this research, the long story "I don't love Afsaneh " written by Maryam Moeini has been analyzed in terms of the application of the components of non-linear realism. The plot of this long story is located in the historical background, but the author creates a multifaceted space and provides the conditions to discover non-realistic margins and contexts. In the continuation of the research, the most important methods of non-linear realism such as: creating nested layers through the fluid flow of the mind Polyphony, sidelining of history in favor of story, change of descriptive pause, creation of suspenseful semantic layers and open ending have been investigated.

The school of realism in literature has presented many types of narration. The dominant feature of this school's tools in reflecting reality and "reaching life experiences" is the honest expression of issues, the linear sequence of events, and the expression of an impersonal and objective view of the characters of the lower class of society. The realist writer tries to convey real experiences to the reader and for this purpose describes the details of people and behaviors (Daad, 2008, p. 257). The maximum presence to understand the relationships of the world and human problems was the main concern of the school of realism. "In realist novels, the most important condition of realism for the subject is that it is not trivial, that is, it is among vital issues. The realist writer always deals with issues that affect the public. So-called, it is considered the role of time" (Parham, 1974, p. 47). Of course, apart from understanding the problem, expressing or narrating the findings also plays an essential role in the permanence of the vision or strategy of each school. Some of the most important techniques used in realist works are: nested layers in the narrative, avoiding long writing, trying to break the macro narrative and creating tension and relativity in the narrative, time breaks, engineered arrangement of time and creating suspenseful layers of meaning. The introduction of these methods - gradually - in realist works has helped pay attention to the rhythm of the narrative in the later periods. Some writers paid attention to these methods and created other parts in the quality of realist narratives. Gathering all or part of these methods in one work can be the basis for a transformation in the boundaries of knowledge in the field of realist narratives.

Non-linear realism is one of the new styles of story-writing, which by introducing modern and post-modern techniques, presents a realistic picture of human life today. The story "I don't love Afsaneh " is one of the long stories in the field of sacred defense, which, while emphasizing the narrative components of realism, has highlighted the non-linear narrative techniques with the break of the linear narrative. In this story, according to the historical background, the author has shown the inner relationships and mental actions in other layers of time and place. The character of the story is stuck in a threshold situation between Iranian and Iraqi forces for 45 days, but he goes forward and after the event with mental jumps. The combination of three narrative times has given the author the possibility to shape the discontinuity of time and narrative through the introduction of the second-person narrator with the meaningful arrangement of story layers. This method made the above-mentioned story, unlike post-modern stories, show a kind of narrative continuity and meaning within the framework of three diverse and different themes of love, war and exile. The tricks used in the story are narrated in such an internal and intrinsic way that while drawing the character's world, it also emphasizes the suspenseful and enigmatic side of the narrative, his feelings and emotions. At the end of the story, the superficial plot of the story is completed in a structural way, but the human plot remains open so that the reader can be placed in the text of the story and along its emotional lines with his own perception.

One of the tricks used by warriors in battle to defeat their opponents is reciting epopee. It is exchanged in the form of a conversation between the warriors of the two armies, and ultimately weakens the morale of the other side and strengthens their own moral. It is based on the self-praise of the warriors and the expression of their deeds and honors, and it is often used during war (Sarrami, 2011). Therefore, Mukhtarnamehs in prose and poetry, whose theme is Mukhtar Thaghafi's wars in revenge for the martyrs of Karbala, are among the epic works, and in these two works, epopee and its recitation are used as one of the war tactics. In epopee, the warrior or fighter pursues two main goals: one is to weaken the enemy's morale, and the other is to strengthen town moral. There are various purposes, the most important of which are: boasting about race and ancestors (paternal and maternal family), boasting about one's power, work, and possessions, creating terror in the enemy's heart, threatening and warning the enemy, humiliating one's neighbor, encouraging soldiers and inviting them to fight, etc. As in any epopee, there are four main elements: the reader (the sender of the message); the listener or listeners of the message (the receiver); the message; and the purpose of the message (the message). In this research, this war tactic is analyzed in two Mukhtarnameh in prose by Attaullah bin Hessam Vaez Heravi and in poetry by Mohammad Hossein Khan Biglarbeigi Qajar Dulo Motkhals Shoua'i.

The method of this research is descriptive-analytical, and the method of data collection is documentary. The statistical community in this research is the prose Mukhtarnameh by Vaez Heravi and the manuscript version of the poetic Mukhtarnameh by Shouai.

Discussion:

 3.1. Epopee’s function in Mukhtarnameh 3.1.1.Boasting One of the obvious manifestations of epopee is boasting. In this way, the reciter boasts about the capacity, strength and physical strength, special works, race and ancestors, property and wealth, abundance of companions and troops, religion and religion, etc. In the review of Shoua'i's Mukhtarnameh and Vaez Heravi's Mukhtarnameh, two types of boasting have been used: A) race boasting: In this type of boasting, the reciter shows off his superiority in terms of race, ancestors, and ancestry by mentioning his race and lineage. In the Mokhtarnameh of Vaez Heravi, in the war between Ibn Ziyad's army and Warqa, Tariq Amesh is proud of the fact that his grandfather is a prophet (Vaez Heravi, 2007). In Shahnameh, in the story of Rostam and Akvan-e Div, Rostam proudly mentions his own race and lineage (Ferdowsi, 2010, Vol. 3: 24). B) boasting about one's own strength and ability: when Musab sends Abdullah to battle with Ibrahim Ashtar, in Abdullah's conversation with Ibrahim Ashtar, both sing epopee (Shoua'i, 1718). In Shahnameh, Rostam, in the battle with the dragon (stage III) proudly refers to his strength and fighting ability (Ferdowsi, 2010). 3.1.2. Threatening and causing terror One of the important goals of epopee is to create fear in the heart of the enemy. If the one who is reciting epopee succeeds in this matter, he increases the probability of his victory. In Mukhtarnameh of Vaez Heravi, Suleiman Sard does this in the war with Ibn Ziyad acts like this (Vaez Heravi, 2007). In Shoua'i's version, Ibn Anas and Hijaz Ibn Hur wrestlers threaten each other to death during their conversation (Shoua'i, 1718). In Shahnameh, during Sohrab's campaign to Dej-e Sefid (white fort), in his conversation with Hajir (guard of the fort), the two threaten each other (Ferdowsi, 2010). 3.1.3. Humiliating the opponent Humiliating an opponent is one of the goals and functions of epopee, during which the epopee singer despises his enemy, and for this purpose, he sometimes humiliates his religion, sometimes his lack of race, etc. In Shoua'i's Mukhtarnameh, when Ebrahim Ashtar, Abd al-Rahman Qays Hamadani is humiliated for his lack of race. In Shahnameh, in the story of the battle between Rostam and Sohrab, Sohrab humiliates Rostam in several ways. Once, he compares his face to a donkey and his hands to straw, and then considers him ignorant (Ferdowsi, 2010). 3.1.4. Summon the counterpart One of the primary goals of epopee is to summon the counterpart. In Vaez Heravi's Mukhtarnameh, Abd al-Rahman calls for a fighter in the war with Ibn Ziyad's army (Vaez Heravi, 2007). In Shoua'i's version, when all the commanders of Rabi'a's army are defeated, Rabi'a himself enters the field and chooses Warqa Gharib as his counterpart (Shou'a'i, 1718). In Shahnameh, due to the frequency of battles, we deal with this component a lot. For instance, the summon the counterpart by Homan (Ferdowsi, 2010). 3.1.5. Warning the opponent Another purpose of the epopee is to warn the opponent. That is, the fighter warns his opponent about the actions he has taken while reciting the epopee. In chapter five of Mokhtarnama of Vaez Heravi, Abd al-Rahman stops Ziyad son from cursing and disrespecting the Prophet's family (Vaez Heravi, 2007). In the conversation between Warqa and Harith bin Abdullah, Warqa reminds him of the right to bread and salt (see: Shoua'i, 1718). In Shahnameh, Khosroparviz warns and frightens Bahram from the afterlife, saying that Bahram is to blame for all the blood that has been shed (Fardowsi, 2010). 2.1.6. Battle of leaders A wise measures of the military on both sides of the army is to accept the battle between the leaders of the army. This causes less bloodshed and reaches the final result of the conflict, which is peace or accepting failure. This type of battle can be seen in the natural epics of the battle of leaders, a clear example of which is the twelve-faced war in Shahnameh (Ferdowsi, 2010, Vol. 4: 162-4). In the war between the armies of Musab bin Zubair and Mukhtar, Mukhtar during epopee, advises Musab and asks him to end this battle between themselves and not cause many people to be killed (Shoua'i, 1718: 271). 3.1.7. Name mentioning and name asking Sometimes a fighter who goes to the arena introduces himself so that a fighter of his level comes to the field or asks the name of his opponent to know who he is fighting with. As we all know, the name contains both spiritual and physical powers. The sensitivity of this point can be seen in the battle between Rostam and Ashkobus, where Ashkobus insists on knowing his name, but Rostom refuses. In Mokhtarnama of Vaez Heravi, Shaddad intercepts Muhammad Hanafiyya and his companions on the way, and attacks him, but when he learns the identity of Sayyid, he throws the spear on the ground (Vaez Heravi, 2007: 335-361). In Shoua'i's version, Warqa asks the name of his opponent before the battle (Shoua'i, 1718: 168). 3.1.8. Encouraging soldiers Sometimes the soldiers lose their morale due to successive defeats or increasing number of opposing armies, therefore do not see any hope for war. In Vaez Heravi's Mukhtarnameh, Suleiman Sard, when he realizes that the soldiers are afraid of enemy armies, uses the heavenly superiority of the believers over the hypocrites to strengthen their desire for war and martyrdom (Vaez Heravi, 2007: 154). In Shahnameh, in the battle between Rostam and Shengal (King of India), Rostam encourages the troops and encourages them to fight (Ferdowsi, 2010, Vol. 4: 243). 3.2. Aesthetics of epopee in Mukhtarnamehs In the verses containing epopee, in the two reviewed Mukhtarnamehs, literary techniques such as simile, metaphor, irony, exaggeration, etc. can be seen. Most of these figures belong to the poetic Mukhtarnameh of Shoua'i Qajar. The simile is noteworthy in the studied Mukhtanamas, because it is used in the service of the brevity of the text and solving ambiguity and complexity. Metaphors are also simple and most of them are explicit metaphors of warriors and heroes. Allusions and proverbs are among the most used figures in Mokhtarnamas, which increase the effect of satire and humiliation. Exaggeration is completely related to epopee; therefore, this figure can also be seen in the illustrations of the religious epics of Mukhtarnameh.

Conclusion :

Reciting epopee by warriors and army commanders is one of the prominent and important parts of epic stories, which can be seen not only in national epics, such as Ferdowsi's Shahnameh, but also in religious epics, such as Mukhtarnamehs. In the poetic Mukhtarnameh of Biglarbiegi's and the prose Mukhtarnameh of Vaez Heravi's prose, all the elements of Mukhtarnameh (Mukhtarnameh, epopee reciter, epopee listener and its purpose) were available for a purpose. Among the goals of epopee in these two works, boasting about the power and ability of oneself and the race, threatening and creating terror, humiliating the opponent, summon counterpart, battle of leaders, name-mentioning and name-asking, persuasion and encouraging the soldiers were available. In Biglarbegi's Mukhtarnameh, there was no boasting about the race and encouragement of the soldiers. On the other hand, the owners of the Mukhtarnamehs have made use of imaginary features to make the verses more beautiful and attractive. In Biglarbeigi, he has tried to be imaginative and attract the audience by using simile, metaphor, irony, exaggeration and proverb in his poem. However, only four cases of irony and one case of exaggeration have been seen in Vaez's Mukhtarnameh.

The epic is one of the ancient literary types that recounts the events of the warriors' bravery in the best. Now, if the hero of these epics is a religious figure, this type of literature tends to become religious. By using linguistic possibilities such as words and compositions, images, rhetorical figures, and outer, side, and inner music, the poets try to represent the spirit and epic atmosphere in their works.In the Qajar period, epics had a religious form. Most of the works that appear in this area are in various religious fields, especially religious poems (Debiri-nejad, 2001:86). The Holy Prophet (pbuh) or Imams (pbuh), especially Imam Ali (pbuh) and Imam Hussein (pbuh), and great personalities such as Hamza, the uncle of the Prophet (pbuh), Mokhtar Thaghafi, etc., are the heroes of those poems. So, the author tries to look at the language and tone of two epic religious poems, Mukhtarnameh of Isfahani Khayali and Shoua'i Qajar, from a stylistic point of view.

The research method in this research is documentary as well as descriptive and analytical. Manuscripts of Shoua’i Mokhtarnama No. 1718 and Khayali Mokhtarnama No. 1/6081 were prepared. In the reference, the number of the photos was also referred to, and since each of the images of the Khayali version was on two pages, in the reference, "A" was placed next to the right page and "B" was placed next to the left page to make it easier for the audience to find the examples. The statistical data included 400 verses of each poet's poems.

3.1. The influential factors in creating an epic tone in Shou'ai and Khayali s’ Mokhtarnameh 3.1.1. Poetry music The music of the poem is an important part of making the poem have movement and tone. This can be seen by looking at meter (outer music), rhyme and radif (lateral music), verbal figures (outer music), and phonological processes, words, and compositions.  The poems of the Qajar era were written in the meter of the epic and in the convergence of prosody. The examined Mukhtarnamehs are long and written in Masnavi format. Both kinds of rhyming syllables were avaliable in both poets’ collections, the syllables CṼC and CVCC were more frequently used than other syllables. Also, in the Khayali ’s Mukhtarnameh, except for the two syllables CVC and CṼC, the other types of syllables are superior to the Shou’ai Mukhtarnameh in terms of frequency. In the examined mukhtarnamehs, various types of verbal, nominal, and lateral radif were available, which were often short and simple due to the epic atmosphere of the poem. The verbal and nominal radif had the highest frequencies, respectively. But in Shou’ai Mukhtarnameh except verbal radif, other types in terms of frequency were higher than the ones used in Khayali ’s collection. The composers of Mukhtar's poems have given their poems grandeur and an epic feeling by using repetitions and words that have long phones. Phonological processes (reduction, gemination, devoiced, elimination, substitution, addition, a- ending) are among the linguistic elements that influence the tone. The comparison of phonological processes of the two collection shows that, except for substitution, in the rest of the processes, Shou’ai is more successful than Khayali. 3.1.2. vocabulary and compositions Due to their knowledge of the ways of creating eloquent words, words and compositions, Shoua’i and Khayali paid more attention to the epic type in their mukhtarnames. Due to the number of wars in these two collocations, there are many words related to war tools and terms; because mentioning war tools plays a significant role in creating and strengthening the epic atmosphere. These two poets, by combining nouns with one or two epic components, added to the epic compositions and increased the epic tone. In 400 verses, 30 epic compositions were found in Shoua'i's collocation and 14 epic compositions were found in Khayali ’s collocation, which shows the power and artistic taste of Shoua'i in creating epic compositions. 3.1.3. The most important forms of imaginary features Simile, metaphor and exaggeration were the most important forms of imaginary features in these two collections. Simile, metaphor and exaggeration were the most important forms of imaginary features in these two collections. In two works, many metaphors such as lion, sword-wielding lion, leopard, etc. were used for heroes. Similes in these two collections have a higher frequency than other types of imaginary forms, and most of these similes are of a sensory type, which due to exaggeration, magnification and recognition have created novel and new images and an epic language and tone. Exaggeration is the most powerful element among the types of imaginary features and plays the main role in creating epic language; therefore, both epic poets tried to strengthen the epic aspect of their compositions by using this feature. Out of 400 studied verses, 13 similes, seven metaphors, and five epic exaggerations have been seen in Shoua’i, but only six similes, three metaphors, and three epic exaggerations have been used in Khayali’s Mukhtarnamah. 3.1.4. Epopee One of the tricks of epic poets is to use irony in their poems. Both Shoua’i and Khayali have included epopee in different parts of their Mukhtarnames. Epopee has been used 33 times in the Shou’ai and 21 times in the Khayali’s collection, and the authors of these works have used similes, metaphors, irony, and exaggeration to enhance them. 3.1.5. Introducing mythical and epic characters in to story The composers of Mukhtarnameh's poems have used mythological characters in making the space of the poem epic; because these heroes have played an important role in creating an epic atmosphere with courage, valor and fighting. This use of mythological characters, especially kings and Shahnameh warriors, is seen more in Mukhtarnameh Shouai. 3.1.6. Influential factors in creating a religious atmosphere in Shou’ai and Khayali’s mukhtarnamehs Religious epics have two aspects. One was the epic language that was spoken about. The other is the religious aspect, which we will discuss it. Poets have their own methods and use special elements to create an epic atmosphere. The poets discussed by us have shaped the religious aspect of the poem by using religious hints, attributing religious attributes to the characters of the poem, using dreams and true dreams and voice of unseen in the text of the poem. The names of the Prophet (pbuh) and Imams (pbuh) were mentioned 31 times in Shoua’i's Mokhtarnama. It has been used 54 times for religious characters and heroes. True dreams and dreams, as well as hearing the voice of the unseen, have been mentioned nine times. The names of the Prophet (pbuh) and the Imams (pbuh) were mentioned 41 times in Khayali Mukhtarnamah. It has been used 123 times for religious characters and heroes. Six times (3.4%), true dreams and dreams and four times about hearing the voice of the unseen have been mentioned.In both collections, the use of religious attributes for characters and heroes and referring to the names of the Prophet (pbuh) and Imams (pbuh) were among the most frequently used religious factors in creating a religious atmosphere.

In this research, the language, epic tone, and religious atmosphere were examined in the Shoua’i and Khayali Mukhtarnamehs of Qajar era poets. Investigations showed that both Shoua'i and Khayali used multiple elements and components in making the epic language and tone in their poems. They made poetry sound more musical by adding meter and prosody, different kinds of rhyme, radif, and repetition. By using phonetic processes, words, and epic and war compositions, and related tools and terms, they set the tone and atmosphere of the Mukhtarnamehs epic. Another trick of these poets is to use imagery features, i.e., metaphor, simile, and exaggeration. On the other hand, the poets added to the epic aspect of the Mukhtarnamehs with great skill and by using epopee (exaggerated epopee) and introducing mythological and epic characters into the space of the story.Another result of this research is to find out the effective elements in creating the religious atmosphere of the khayali and Shoua'ai mukhtarnamehs, which two Qajar poets did by referring to the names of the Prophet (pbuh) and imams (pbuh), the use of religious attributes for characters and heroes. True dreams and dreams have played in the space of stories and unseen voices and created the religious epics of Mukhtarnameh. Examining the charts shows that Shoua’i Qajar has paid more attention to the epic factors and contexts of his Mukhtarnameh, while Khayali Esfahani has paid more attention to the religious contexts of the Mukhtarnameh.

The war imposed by Iraq against Iran and the resistance and standing of the Iranian society against the Iraqi Baath regime and its other regional and international supporters are considered one of the most important pages in the history of Iran. The eight-year war deserves attention and investigation not only from the political aspects but also from the cultural and social aspects. The wills of warriors and martyrs are among the most important and valuable documents and written cultural and spiritual heritage left over from the Iran-Iraq war, which unfortunately have received less attention from researchers in the field of social sciences. Studying and examining these written documents and analyzing them in the framework of scientific methods will provide a relatively clear picture of the different aspects of the war and the thoughts and beliefs of the warriors. Because the beliefs and beliefs of a nation are reflected in the literature and written heritage of that nation. Now that the war has ended, the investigation and study of the heritage of the field of sustainability literature and the wills of martyrs can lead to understanding the deeper aspects of the war and getting familiar with the culture of sacred defense and its spiritual achievements. In this research, while analyzing the content of wills, the most important concepts and categories extracted from them are mentioned. This study is a descriptive and analytical study and the statistical population of the study is martyrs of holy defense of Guilan province. In this research, 97 wills of martyrs were examined and analyzed. By using the content analysis method, 17 categories were extracted while examining and reading the text of the wills several times. Since content analysis refers to a method that is used regularly and objectively to determine the characteristics of messages. In this research, in order to investigate the themes of the topics mentioned in the wills by reading them repeatedly and carefully. An attempt is made to identify the most prominent content and thematic features of the wills of Guilani martyrs of holy defense. By analyzing the content of the wills of the martyrs of Guilan, 17 categories were extracted and these categories were defined in the form of three broad categories. Therefore, in total, the testament of Gilani martyrs includes three categories of religious and religious, political-economic and socio-cultural themes. According to the high frequency of the category of Imam Hussain (peace be upon him) and Muharram (58 cases/59.79%) and Mahdism (56 cases/57.73%), among religious themes, Imam Khomeini (RA) (80 cases/80.41) in political themes Economic and family category (60 items / 61.85) Among the social and cultural themes of the wills of Gilani martyrs, it can be found that religion and religious and Shiite beliefs are the most important motivational factors for the presence of warriors in the battle front and the defense of national and territorial identity. and on the other hand, from the point of view of the martyrs, the school and path of Imam Khomeini (RA) was considered the continuation of the ideals of Karbala and Mahdism. In the thought of the martyrs, the family as the most central social institution has the most important role in the continuation of the culture and the system of beliefs and convictions and the society, and as a result the life of the belief system and the Islamic and Iranian belief system depends on the preservation and protection of this important and influential institution. The social and upbringing of the generation believes in Islamic and Iranian values. Recognizing and studying the thoughts and ideals of the martyrs can lead to the re-creation and reproduction of the values ​​of the Iranian society and its application in social and political policy making.