Research in Narrative Literature
Year:2024 | Volume:13 | Issue:1|Papers Count:10

Journey has always occupied a unique position in world literature. The current paper investigates the concept of journey in children and adult’s narrative literature. Samad Behrangi’s “the Little Black Fish” concerns the challenges faced by the main character while passing through different stages of the mystical journey. The present paper aims at investigating the comparability of the stages of the Little Black Fish’s journey with that of the birds in Resalat Al-Toyur by Ahmad Ghazali. In the two works, the stages are not distinctively named. In Attar’s Mantegh Al-Tair, as an adaptation of Ghazali’s work, the seven stages of the mystical journey includes: quest, love, wisdom, independence, monotheism, amazement, indigence, and death. This framework is employed in comparing the aforementioned stages. The findings revealed that the stages are remarkably similar to each other. The major reason for the existence of such an incredible similarity was originated in the fact that they belong to mystical literature and cover the same theme of “Mystical Journey”. Last but not least, the similarity may also have its origins in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings. Introduction: The Notion of “journey” has been always given a unique position among the other multiple interesting concepts in the world literature. The current study is an investigation of this concept (Journey) in both children and adult’s narrative literature. Fiction or narrative literature has played an important role in showing the impact of “journey” on religious, cultural, and social changes. “Journey” has appeared in children’s literature, both in the form of physical and spiritual journeys. The story of The Little Black Fish is one of the few works that deals with the topic of spiritual journey in a pleasant and delicate way. This story comprises a lot of symbols that, if explained and decoded, reveal the deep layers of the story to the reader. In adult narrative literature, there are also works in the field of travelogues and spiritual journeys, the latter of which is referred to as a “mystical journey”. In the classical literature of Iran, a large quantity of outstanding works on “mystical journey” exist. Attar is one of the most prominent literary figures of Iranian-Islamic mysticism and his “Mantegh Al-Tair” is a masterpiece in Persian literature. This book is considered as an adaptation from Ahmad Ghazali's “Resalat Al-Toyur”. In the present paper, the primary focus is on the stages of journey in “Resalat Al-Toyur”. The research questions are as follows: 1) Is the journey of the “Little Black Fish” comparable to that of the birds? 2) Which of the stages on the journey of birds is comparable with the stages of the journey of the black fish? How can we analyze the journey of the black fish in the context of the journey of the birds? 3) What factors can influence the comparability of a work in contemporary children’s literature with a work in classic adult literature? Methodology: The story of The Little Black Fish is written by the famous Iranian writer, Samad Behrangi, and is referred to as one of the most important works of Iranian children's literature. This book was published in 1968. The story of The “Little Black Fish” was chosen from among various works of Samad Behrangi since it was his only work on the mystical journey. The “Little Black Fish” concerns the challenges faced by the main character in passing through different stages of the mystical journey. Ahmad Ghazali was a mystic jurist and a jurist mystic. In The Resalat Al-Toyur, he has pleasantly narrated the journey of the birds to the King-Simorgh palace. In studying literary works, the focus is usually on the text, the writer, and the reader. In the current comparative study, the authors could be divided into two groups of contemporary and classical. Readers also belong to two different groups in terms of age. However, the texts are well-matched since both are among the famous literary works of Iran and share the same theme of mystical “journey”. Both works also enjoyed an allegorical and symbolic language. In Attar’s Mantegh Al-Tayr, as an adaptation of Ghazali’s work, seven stages of a mystical journey are engaged which include: quest, love, wisdom, independence, monotheism, amazement, indigence and death. This taxonomy was employed as a model or framework in comparing the stages of the mystical journey Results and Discussion: In the current research, the stages of journey in “The Little Black Fish” (in the contemporary children’s literature) have been compared with the stages of the mystical journey of the birds (in classical literature). In the two works, the stages were not distinctively named. However, all seven stages of the journey of the birds could be identified in Samad Behrangi’s “The Little Black Fish”. Amazingly, the classic framework of Ghazali’s and Attar’s mystical journey of the birds was so applicable to the story of “The Little Black Fish” that it seemed as if Samad Behrangi had artistically and delicately arranged the stages of the black fish’s journey in accordance with the stages of the mystical journey of the birds. Behrangi was quite familiar with children’s language, and he was also familiar with the classical Persian masterpieces like those of Ghazali’s and Attar’s. It does not seem improbable that while he was writing The Little Black Fish, he also might have been thinking about the stages of the mystical journey of the birds. The process could also be of unconscious or subconscious type. In any case, what was found in the present paper indicated the high comparability of journey stages in the two works in Persian (children and adult) literature. Conclusion: The findings of the current research indicate that the story of “The Little Black Fish” can be compared and interpreted based on the framework of the journey of the birds in Ahmad Ghazali's Resalat Al-Toyur and Attar’s Mantegh al-Tayr. It was realized that the stages of the journeys of the heroes in the two works were remarkably similar. The major reason for the existence of such an incredible similarity was found to be the fact that they belong to mystical-literature and cover the same theme of ‘mystical-journey’. Last, but not least, the similarity may also have its roots in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.

This study compares the stories of Veis and Ramin and Khosrow and Shirin. The basis for this study is Greimas theory and the characters’ communication model, which assists the study to systematically identify the characters’ contributions in the events, and their motivations, demands and wills in the story’s incidents and actions. The essential grounds for this comparison is the transition from a similar superstructure to the Narrative infrastructure differentiation in two stories. The results of this study is an indication of the plot for Weis and Ramin which narrates the struggle of love with the law and the royal throne. Last but not least, the victory of love but the story of Khosrow and Shirin is based on the conflict and then the compromise of royal power with morality and religion. These are the most important differences between the two stories: In the story of Khosrow and Shirin, unexpected events and destiny play a greater role Creating beautiful scenes has no role in the plot. In the story of vis and Ramin, the plot has a logical order. The role and action of the characters is important in completing the plot, and women play a more important role in the story. Introduction: Veis and Ramin and Khosrow and Shirin are referred to as famous and prominent love stories in Persian literature. The Story of Veis and Ramin, the lasting work of Fakhroddin Asad Gogāni, is the third Persian Masnavi in terms of antiquity and the first Persian love poem that has survived to this day. This story is one of the most natural and influential stories of celebration and love in Dari Persian language, the subject of which distinguishes it from other ancient romance novels.  Fakhr Al-din Asad's fame for the provision of the arrangement method in this story dates back to the fourth century, however, since the subject of this story was, in many cases, far from the moral standards of the Islamic environment of Iran at that time, the fame and popularity of Fakhreddin's story diminished after Nezami Ganjei's Poetic stories and the poets who imitated him.  Nezami is one of the most famous poets who imitated the weight and composition of Veis and Ramin in composing the element of Romance in Masnavi. There are many indications that Nezami, after reading the story of "Veis and Ramin", has thought of like those of composing love poems and perhaps Fakhreddin's work was his inspiration in selecting Khosrow and Shirin. Nezami's ability to compose festive stories has made him a role model for others and, according to some scholars, Khosrow and Shirin, the second Masnavi of Nezami's “Five Treasures”, is the best and most famous love story of his poems. The connection between these two stories, the influence of Veis and Ramin on Nezami in composing the story of Khosrow and Shirin, and the similarity of these two stories in subject, nature, weight, and narrative characteristics, has made it possible to compare these two works. The purpose of this comparison is to identify the differences between the two stories, in terms of the impact of the characters’ actions in the plot and the events of the story. This comparison is based on Grimas's narrative theory and the action pattern of the characters and helps to identify the similarities and differences in the narrative structure of Persian love stories. Methodology: This research is based on the description and analysis of the text, and the action pattern of the characters in Grimas theory. The analysis method is based on dividing the text into the components of the sequence and then identifying, analyzing, and describing the action pattern in each sequence. Results and Discussion: Both the stories of Veis and Ramin and Khosrow and Shirin include a grand plot that narrates their love and struggle with rivals and deterrents, the constant joining and separation of two lovers, and finally overcoming all problems and the final and the creation of an eternal bond between the two lovers. In the story of Veis and Ramin, Veis, Ramin and King Mubad are the main subjects in the story. The most important assistants for Veis and Ramin, are Veis himself, the old maid and, sometimes, the mothers of the two lovers. Furthermore, there exists some opposing powers like Power, custom and law, the Shah's mother and brother, and sometimes Veis's mother. The most powerful opponents of the two lovers are the power of the king, the law and custom of society, and then the king himself and the mutual love of Veis and, finally, Ramin is the most important obstacle for Shah Mubad to enjoy Veis's love. In the story of Khosrow and Shirin, Khosrow and, sometimes, Shirin are the only subjects in the story, and it is only at the end of the story that "Shiruyeh" appears as another target. In this story, love is the main theme and at the beginning of the story, Shapur and the kingdom, are the motives for Khosrow's actions. Accident and destiny are the most important helpers and opponents of the characters in the story. Another opponent of the two lovers which abandons them from reaching each other is Khosrow's marriage to Maryam and Shirin's motivation to maintain chastity. Shirin's love for Khosrow is also the cause of Shiruyeh's failure. Conclusion: The story of Veis and Ramin is the story of the victory of love over the law and the royal throne. This story has very few extra scenes and images, its plot is coherent and the events play an important role in complication, denouement, creating a crisis and bringing the story to an end. The story of Khosrow and Shirin is the narration of the alliance and agreement of religious laws and social traditions with royal lust and domination. The plot of this story has very few events and there is no serious and effective tension and conflict in complication and denouement with the story and, finally, the characters are not threatened by a serious crisis. The story of Khosrow and Shirin includes a large number of beautiful but redundant scenes and images that make the story come to an end late. This story, Contrary to the story of “Veis and Ramin”, contains a large number of beautiful but redundant scenes and images that make the story end late. In the story of Veis and Ramin, accident and destiny have no role in the story, except in the scene of Shah Mobad's death. The main actors in this story, are the characters and the formation of the plot depends on their actions and motivations. In this story, women have a more effective role than men as subjects or helpers and opponents; They are active actors, depending on the situation and events of the story, try different solutions to achieve their desires. In the story of Nezami, Contrary to the story of Veis and Ramin, accident and destiny play an important role in creating and completing the plot; Accident and destiny are the most prominent assistants as well as opponents in the story and Shapur, except accident and destiny, is the only helper of the story. He, unlike the maid of Veis, is the only the executor of Khosrow's orders and his messenger. In the story of Khosrow and Shirin, the number of characters, in all roles, is much less than the story of Fakhreddin Asad Gorgāni and, more importantly, the motives and actions of the characters in this story, unlike the story of Veis and Ramin, remain constant throughout the story. The story of Khosrow and Shirin is the Scene of action and superiority of the will of men, especially Khosrow, and Women in this story, unlike the story of Vis and Ramin, do not play an active role in the events of the story. The results of this study confirm the validity of Forouzanfar and Mahjoub's opinion. They hold the idea that the story of Veis and Ramin has got a great influence is more beautiful and influential in terms of story structure and rules than Nezami's story and has had a great impact on the flow of Composing poetic stories in Persian literature.

The presented paper is an attempt to investigate Zoya Pirzad's novel I Turn Off the Lights using a descriptive-analytical method based on Pierce's epistemology and semiotic method on the title of the novel and the names of prominent characters. This novel is a collection of Armenian and Latin letters. In the meantime, turning off the lights in the title of the novel with three selected and key names is a paradox; One is named Arshalus, Clarice's mother, “meaning dawn”, and the other is Parvin that is the only active and popular woman in the story “meaning bright star”, and Clarice's name “meaning bright”. All three women are mothers and belong to three traditional, modern and intermediate social types, respectively. Furthermore, all the three given names have the meaning of enlightenment. Like all mothers, they keep the lights of their family life on by sacrificing themselves. In addition, the name Artush, meaning "immortal", symbolizes the immortality of the patriarchal tradition, and the name Garnik, meaning "lamb" for the kind man in the story, symbolizes the author's feminist thoughts. Therefore, most of Pirzad's selected letters are appropriate to the actions and behavior of the characters. Featured letters are often of the Pierce profile type.Introduction:Peirce is known as one of the theorists in the field of semiotics, who has presented a threefold model for signing and provided the fundamentals for criticism on the basis of the denotative structure of literary works. Therefore, in this research, the names and titles in the novel I turn off the lights by Zoya Pirzad, a contemporary writer of our country are to be examined based on the semiotic system of Charles Sanders Peirce (1839-1914), a philosopher and the American linguist. To achieve this goal, the novel I turn off the lights will be considered as a basis for this research. Precisely, by dealing with the meaning of the characters’ names, the title of the novel, and examining them from the point of view of semiotics, the rate of appropriateness between the names and their characterization will be achieved. What emerges from the nomenclature and semantics of the characters’ name is the author's special attention to the names and their alignment with the purpose and actions of the characters.Methodology:The current research implements the descriptive-analytical method, and the basics of Peirce's semiotics to examine the title of the novel I turn off the lights and the names mentioned in it. Furthermore, in order to discover the connection between the title and its names with hidden concepts and purposes, a small step can be taken in the field of semiotics. In addition to that, to pave the way for researchers who are interested in this topic, and on the other hand, this research is a unique one for this novel considering that no research has been done on the semiotics of the novel I turn off the lights. Based on the triple semiotics of the names and the title I turn off the lights, it will reveal new horizons in front of the audience. This analysis can lead the readers to know more about the content of the story and provides the basis for a deeper understanding of the text.Results and Discussion:This article tries to study Zoya Pirzad's novel I turn off the lights with a descriptive-analytical method based on Pierce's epistemology and relying on Pierce's semiotic method, the title of the novel and the names of prominent characters. This novel is a collection of Armenian and Latin letters. In the meantime, turning off the lights in the title of the novel with three selected and key names that form a paradox. One is named Arshalus, who is Clarice's mother, and carries the meaning of dawn. The other is Parvin, who is the only active and popular woman in the story, and means the bright star. The last character is Clarice's and her name means bright. All three women are mothers and belong to three traditional, modern, and intermediate social types, respectively. Furthermore, all three names have the meaning of enlightenment. Precisely, like all mothers, they keep the lights of their families’ life on by sacrificing themselves. Also, the name Artush, meaning "immortal", symbolizes the immortality of the patriarchal tradition, and the name Garnik, meaning "lamb" for the kind man in the story, symbolizes the author's feminist thoughts. Therefore, most of Pirzad's selected letters are appropriate to the actions and behavior of the characters. Featured letters are often of the Pierce profile type.Conclusion:Followed by the investigations over the semiotics of the characters in the novel I turn off the lights, the following results were obtained:The title of the novel is closely related to its main character "Clarice". By selecting this name, Pirzad refers to the daily life and the duties of motherhood, wifehood, and housekeeping in Claris's life. This name is a metaphor for Clarice's silence and conscious silence in all situations that are ignored. The word "I" in the title shows the streaks of self-seeking and expressing my identity in Clarice. And finally, the most important point is that Clarisse overcomes her ambiguous feeling towards Emil, and this evokes extinguishing the sparks of her feelings, and finally, this title refers to the sacrifice of maternal desires, for the sake of clarity, staying is the light of family's wishes, and their desires. There is a paradox in the title of the novel (the blackout of the lamp) with its three characters who have the concept of light. More precisely, Archalos (mother of Claris) carries the meaning of dawn, Parvin Nurullahi which refers to one of the brightest stars in the sky, and Claris which means shining. These three names represent three classes of women. In other words, Archalos in the role of mother represents all traditional women in the society, Claris in the position of women who struggle between tradition and modernity, and Mrs. Parvin Nurullahi, who is active in women's rights and represents all the modern women in the society. The interesting point of this issue is that all three women with three different social types are mothers and all mothers keep the light of their family's life on by sacrificing their desires. And this mission has not changed with the change of social type. Pirzad's chosen names, as an Armenian writer, represents his language, ethnicity, and nationality. Most of his chosen names are related to Armenian culture. The accuracy in the names that the author has chosen for women indicates his consecration and special respect for them. Clarice, Elmira, Nina, Violet, Parvin, Archalos, etc. are all good names. Also, the choice of the name “Garnik” for the kind man of the novel and against the name of Artosh, as a representative of the patriarchal culture, shows his opposition to this culture and the influence of feminist ideas in him. Pirzad, in choosing the title "I turn off the lights" for the title of his book, like the naming of the characters in the novel, did not just choose a name, but the events of the story and the characters together. It has been stated that a special concept has been taken from these names which is completely appropriate to the atmosphere and process of the story. As a result, according to the previous material, the name for each of them is placed in a certain category of signs (iconic, indexical, and symbolic) and the classification of each of them along with the explanations given in the end of every analysis.

In Haras, written by Nasim Marashi, the place has an important role in making subjective conditions. This paper, by applying the semiotics analysis to the novel’s text, tries to show how place and placiality participate in forming the textual subject identity. By using a descriptive-analytical approach which is based on tensive-shushi discourse analysis, it seems that place and placiality are converted to space, which make tension in the sensory-perceptual conditions of the subject. This means that the subject of woman s is disconnected from her mythical and symbolic place (Khorramshahr), and is not, however, stabilized in her new place (Ahvaz). This leads to pre-tension, post-tension, place disconnection and identity disconnection. Thus, the subject cannot make a here-now relation with the new place, and make an attendance- absent relation instead. As the results, the subject of the act creates a transcendental place converting from place to space, naming Dar al-Tala'a, where wandering subjects consider it as a place to create new values. The research results show that place transcendence is a fictional stategy that help the subject of the act to overcome the identity disconnection, which is made by disconnecting any relation from the actual place. Introduction: In Haras, which is a written novel by Nasim Marashi, a number of subjective conditions have been illustrated in which the notion nof place has been given a dominant role with respect to their formation. The novel story concentrates on the life of a woman named Nawal and her family, who forced to move from Khorramshahr city to Ahvaz city due to war, but she cannot separate herself from the Khorramshahr life memories. The objective relationship between the female subject and the objective place of Khorramshahr, which has lost its placiality nature, is disconnected. Thus, she cannot establish a relationship with Ahvaz, her new objective place. These conditions cause the subject to experience a crisis in her personal life. Thus, in this novel, the place has become an important element in the formation and destruction of the textual subject identity. Methodology: Considering the Semiotics perspective, space and place are formed by the presence of the subject. In some cases, the space dominates the subject in such a way that the subject loses its control over the place. In some other cases, the subject dominates the space and applies its actions to the place. Due to the mutual influence between man and place, the place can have a discourse application. The place transforms raw nature into culture and is the product of cultural activity in space. In addition, the place can classify and give meaning to the empty space. The place formation, as a symbolic system which is in a two-way interaction with the formation of cultural subcodes, makes the place relations meaningful. In this paper, it will be shown that how the female subject in the novel "Prune (Haras)" establishes a discourse relationship with the place and can create a transcendental place despite the identity disconnection. Results and Discussion: In this novel, the element of place has been given a conceptual function and the content of the text is written based on it. The place becomes especially important in this novel, because leaving the hometown is its main core and the human is encountered with movement and place change during travel. Human and place influence each other, which means the place is a factor in giving identity to human and the human also gives identity to the place. Every experience happens in a place and the place gives meaning to the related characters and actions. When external issues, such as natural disasters or war, cause a temporary or permanent place change, the sense of place becomes more apparent. Among the investigated places, Dar Al-Tala, which is the main place of the story, is transcend to such an extent that at the end of the story, the place object becomes the owner of the human subject and Nawal is introduced as "property of the palm trees". This is in exact contradiction with the normal situation in which palm trees belong to humans, and the humans own palms and objects. Conclusion: In the provided research, a semiotic-based analysis has been applied to the notion of place and its discourse function in the novel based on the theoretical concepts. Transforming the place into the space leads to tension in the sensory-perceptual conditions of the subject, in such a way that the female subject is disconnected from her previous mythical and symbolic place (Khorramshahr) and is not however stabilized in the new place (Ahvaz). This leads to pre-tension, post-tension, place disconnection, and identity disconnection. Consequently, the subject could not establish a here-now relationship with the new place. Her relationship with the new place is an attendance- absent one. As a result, the subject of the act creates a transcendental place naming Dar al-Tala'a. Transcendental space provides such kind of presence in which imaginations and subjectivities lead subject towards what she desires. Nawal's presence in Dar al-Tala'a and her attachment and attention to the palm trees make them sprout and this place turns from a physical place into a transcendental place.

In Iranian folk short stories, there is a possibility for the existence of more than one subject. Without a shadow of doubt, these subjects, with regards to the Semantic horizon and their action process path, are in interation with each other. According to this matter, the question addressing the kinds of relations between subjects has been proposed. Furthermore, how the semantic horizon followed by subjects affect the relations among them. With that in mind, this research, imposing an analytic- descriptive method and affected by Semi-Semantic discourse approach in classical narratives, tries to consider and analyze the quality of relations among subjects in Iranian folk short stories by considering 661 present subjects in the collection of Iranian folk stories that include 201 collected stories by Seyyed Abolghasem Enjavi Shirazi in a collection of four volumes. The results of this research indicate that these stories have formulated 13 types of relations among subjects comprising; coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency, and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains from one to eight rings have been formed among subjects.Introduction:In Iranian folk short stories, there may be more than one subject. Undoutedly, these subject are in interaction with each other interms of the semantic horizon and their path of action process. According to this matter, it is proposed that the type of interactiosn between subjects and the way the semantic horizon followed by subjects impacts this interaction are the two subjects which turn out to be worth-mentioning.Methodology:This research, having an analytic-discriptive procedure, is effected by the semi- semantic discourse approach in classical narartives in which the relations among 661 subjects (characters who want to possess an object, repossess, or protect it) in 201 stories from a four volume collection of Iranian folk short stories are considered. These stories had been collected by Seyyed Abolghasem Enjavi Shirazi. In this research, prior to anything, the kinds of relations among subjects and  their frequency are determined and, followed by that, the relation chains among subjects and their frequency are explained which are formed in these storeis.Results and Discussion:The results revea that in these stories 13 types of relations have been formed among subjects: coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains of one to eight rings have been formed among subjects.Conclusion:The result of this research reveals that object and possessing, repossessing, or protecting that, which causes to creation and forming the relations among subjects. This process causes to forming different relation chains among subjects.

. Gender, difference and uniformity of gender rules are considered as fundamental concepts of anthropology of gender. The present research is an attempt to examine Farhad Hassanzadeh's evidences (particularly in the ages of D and H) so as to analyze them based on post structuralism anthropology. Having confirmed the customary insight, understandable expressions, the ideologies that governor on traditional Cultural structures, One pole is the center and the other one is margin. However, as the matter of fact, the mentioned binaries (the two mentioned polars) are not superior to each other. This research, via considering the viewpoint of giving centrality or having one of two poles in nature/culture binary and female/male, analyzes whether the rate of centrality had been given to Female pole and in whose one it has been given to male pole, in which literally work centrifugal has been happened and in which ones it has not.This research shows, in the most discussed fiction centrality of writer characterization is based on male pole and looking manner to women’s character has not been kept a loof from past traditional stereotype Introduction: Life in the modern era, especially from the mid-20th century onwards and after two world wars, has, by a great margin, disrupted all previous assumptions and altered human perceptions of many concepts. In other words, a complete cultural revolution has taken place in society. Gender and how it is addressed is one of the concepts that has undergone significant changes compared to the past. Concurrent with changes in human perspectives on these issues, cultural anthropologists have introduced the branch of gender anthropology, the main concern of which is to explore femininity and masculinity beyond their biological nature. Consequently, it aims to "revert to prioritizing other social categorizations (such as ethnicity, age, religion, and social status) over gender categorization by disregarding the concept of 'femininity' as a cohesive social stratum" (Fekouhi, 2007: 233). Feminist anthropology, as one of the important branches of cultural anthropology, which focuses primarily on gender issues, began in the 1970s and is now evolving into gender anthropology, in which the previous extreme feminist approaches and the focus on the female pole are no longer relevant, and the focus of research is on gender rather than sex. The fundamental belief of this field of study is that there must be a distinction between the "biological characteristics of sexes and the cultural characteristics, referred to as gender.    According to this group's interpretation, 'femininity' is not a biological position but rather a social-cultural one. Therefore, it is assumed that this social-cultural position, which has been adapted to the biological position of women in a particular society, is contractual rather than natural" (Fekouhi, 2007: 232-230). Although in most cases literary works, especially fiction, are not written for direct education or reflection of specific ideas, and usually differ significantly from the real world due to the presence of elements of imagination and fantasy, sometimes stories can explore concepts that the author is considered part of the dominant culture in contemporary society. In this way, one can find the layers of the author's interpretation in the story and, on a broader scale, the society of the author. It should also be noted that in relation to children, the transfer of both direct and indirect positions is important, and from here the importance of children's literature as an element for transmitting various concepts becomes doubly important. Methodology: Thus, the present study turns to children's literature from the perspective of two authors of different and indeed influential genders to explore their gender perspectives and to search for the relevant examples in these works based on descriptive-analytical and interdisciplinary approaches in line with the theory of dualities of cultural anthropology. Gender anthropology believes that the characteristics of men and women in any society are shaped, reflected, and transformed in its literature, art, and culture. The confrontation between men and women and in some cases the superiority of one over the other is the result of the dominance of specific ideological forms in some thoughts, not the result of the different nature of men and women. Results and Discussion: From the examination of selected stories, it is evident that characters are often nurtured based on the concept of gender rather than sex, and in most cases, biological differences are considered the factor behind gender differences. In the stories of Judge Noor, the title of the story and the name of the book are often masculine, and in his storytelling, men are also presented in a more favorable position, introduced with higher awareness and knowledge compared to women. They are depicted as readers, not credulous, and not simple-minded. In most stories, they are the heads of the family and are considered decision-makers, but in terms of emotion, responsibility, and family care, they are shown to be inferior to women. Men in these stories are often harsh and unemotional, lacking a proper relationship with their spouses and children, often unemployed and unable to provide for their families, leading them to resort to violence, which naturally victimizes the family, primarily women. However, this can also be attributed to societal status, family welfare, and individuals' ignorance during the narrative timeframe. In these stories, the author sometimes introduces a newer generation with more positive attributes; they are aware and courageous, striving to create positive changes in their lives, with men having a greater share in this. With the passage of time and in a period of rapid cultural change, which is witnessing the greatest gap between generations, the difference in the type of perspective on the issue of gender in previous and present works appears natural. Therefore, the intellectual growth and change in society's perspective on gender have led to a noticeable difference in later books by Hassan Zadeh compared to his earlier works. One of the indications of this is the increased presence of women in society and the subsequent growth of central characters in the form of women's gender. Women in these stories have a more favorable position in terms of livelihood, welfare level, thinking, awareness, satisfaction, health level, and social presence. Sometimes, the audience in the stories is confronted with signs of female dominance and the predominance of women's will and power, and changes in women's temperament and character (from avoidance of dominance to seeking dominance and even violence), something not seen in the works of other selected authors. Conclusion: However, the dominant view still influences the stories, and in most cases, female characters are depicted in a way that they lack intellectual and financial independence, have simple beliefs, are interested in superstitions, and are captives of undesirable affairs falsely attributed to religion. In contrast, men are more aware, considered the economic and intellectual pillars of the family, have made significant positive changes in terms of emotion and affection, have appropriate relationships with their spouses and children in most stories, and are presented as more positive and complete characters.

The imposed war over Iran has been considered as one of the most important events in contemporary era which has evidently impacted multiple fields including culture, literature and art. One way to carry a better understanding over the various dimensions of war and its events and consequences is to study the memories of the war. The purpose of the current research is to examine the metaphorical conceptualization of ‘captivity’ in the book I am alive to find out how a teenage girl who was held captive by the “Ba'athist” regime in Iraq for 4 years, express her experiences. The analysis has been done within source domains to conceptualize the harsh conditions of herself and other prisoners, as well as the violent and inhumane behavior and action of prison guards. The most frequently used source domain in conceptual domain of ‘animals’ reflected in metaphors “prison is a cage”, “captive is a bird” and “Iraqi prison guards are wild/inferior animals”. The domain of “nature” has been used in the metaphor “captivity is a dangerous natural phenomenon”. Many other domains such as plants, banquet, exam, mission, the Karbala incident, war, sport and death have also been used in metaphors.Introduction:The imposed war on Iran is one of the most prominent events in contemporary era of Iran which has evidently impacted multiple fields including culture, literature and art. One way to carry a better understanding over the various dimensions of war and its events and consequences is to study the memories of the war. The study of the novels and poems related to the “Holy Defense” period, which are parts of the resistant literature, could help studying these works more accurately and deeply and to understand the meanings and themes hidden in them based on the new perspectives of linguistics and especially the approach of cognitive linguistics. The purpose of the present research within the framework of Conceptual Metaphor Theory (Lakoff and Johnson, 1980; Lakoff, 1987, 1993) is to examine the metaphorical conceptualization of “captivity” in the book I am alive to find out how a teenage girl who was held captive by the “Ba'athist” regime in Iraq for 4 years, expresses her experiences. Conceptual Metaphor Theory, unlike the traditional view, considers metaphor not only as one of the literary devices, but also as a cognitive and conceptual mechanism that plays a central role in the cognitive system, as well as in the processes of human understanding and thought.One of the topics that has received attention from researchers in the literature related to the imposed, war which lasted for eight years, is the use of metaphors in conceptualizing issues and events related to the war that has been reflected in prose texts (novels and stories) and poetry. Oliyaei (2011) has examined the reflection of war in the memoirs of Iranian women based on the theory of conceptual metaphor and concluded that female writers have focused more on spiritual and emotional issues in their memoirs of the war, and there is no significant difference between men and women with respect to their presence in war. Faragerdi et al. (2018) investigated the animal-based metaphors in twenty fictional books about the “Holy Defense”. The findings of this study indicate that the conceptual domain of animals is one of the most profitable domains of metaphoric source and plays a pivotal role in conceptualizations related to the Holy Defense. In the novels examined in the current study, the source domain of animals is mainly used to refer to enemy forces and to conceptualize their inhumane behavior and actions. In addition to novels, the poems of the Holy Defense have also been studied based on Conceptual Metaphor Theory. Marof (2016) has examined the metaphors related to the concepts of martyrdom in the poems related to the Holy Defense era. According to the results of this study, the source domains of flight, path, wine, galaxy, birth, place, and life have been the most common conceptual metaphor domains for expressing the concept of martyrdom.Methodology:In terms of methodology, the research is a corpus-based research in which the data are extracted from the text of the book I am alive (Abad, 2013). In order to identify the conceptual metaphors and their source domains, linguistic metaphors in the text must be first identified and analyzed and, then, their underlying conceptual metaphors must be extracted and examined. Therefore, the entire text of the book was entirely read, and all linguistic expressions that metaphorically conveyed the concept of death or martyrdom were identified. These linguistic expressions, referred to as linguistic metaphors (Kövecses, 2010), were then classified and analyzed based on their source domains.Results and Discussion:The analysis of linguistic metaphors used to express the concept of captivity in the book "I Am Alive" (Abad, 2014) shows that the author has resorted to metaphors so as to depict the harsh and difficult conditions of himself and other prisoners in the prisons and camps of Iraq, as well as the violent and inhumane behavior of Iraqi prison guards and forces. The author has employed multiple conceptual metaphors to represent the notion of captivity, drawing from various conceptual domains. The identified Conceptual metaphors comprise: "Prison is a cage"; "Prisoner is a bird"; "Iraqi prison guards/officials are wild animals"; "Captivity is a dangerous natural phenomenon"; "Prisoner is a flower"; "Captivity is a feast"; "Captivity is a test"; "Captivity is a mission"; "Captivity is war"; "Captivity is like being in Karbala"; "Captivity is a sports competition"; "Captivity is death"; "Captivity is a burden"; "Captivity is pain".Conclusion:According to the results, the conceptual domain of “animals” is referred to as the most frequently used source domain which has been used to express the harsh conditions of prison (such as the metaphors "prison is a cage" and "the prisoner is a bird"), and to conceptualize the behaviors of Iraqi prison guards towards prisoners (as manifested in the general metaphor "Iraqi prison guards/officials are low/wild animals"). The natural phenomena have also been relatively noticeable in conceptualizing captivity, with the author using dangerous natural phenomena such as fire, sea, and storm to metaphorically conceptualize the dangers and sufferings of the period of captivity as "captivity is a dangerous natural phenomenon". In addition to these widely used conceptual domains, the author has also made metaphorical use of other conceptual domains such as plants, feast, trial, mission, the event of Karbala, war, sports, death, burden, and pain.

Bakhtin paved the way for a new conceptual approach in the novel by introducing the two concepts of "conversational logic" or "dialogue" and "polyphony". Accordingly, the main issue of the present study is to assess the position of the "other" and polyphony in Iranian sustainability novels whose main characters and authors are women, and to what extent the works have approached polyphony by observing the boundaries of neutrality? In the body of the article, which was conducted on the basis of a descriptive-analytical method, Bakhtin's views about the presence of "another" in the text with his two key concepts (dialogue and polyphony) are described and studied in the novels in question, prior to anything. As the results of the study have indicated, these novels cause acquaintance and cognition of "other", and regocnize the thoughts and ideas of the characters in accordance with the Heroes. Polyphony helps the characters have a chance to speak and introduce themselves to the readers. Variety of perspective in the considered novels has been emerged as a narrator shifts within several consecutive chapters and the narrator changes. This narrative method exists in the forms of monophonic (first person), monologue (hadith of the soul), first person observer, and third person. What is called "another" or polyphony in war novels is the presence of the enemy. Precisely, the presence of "another" in the studied novels is only transient and independent of conversations. Introduction: One of the most important theories of Bakhtin is dialogism and polyphony, which happens to be in close connection with each other. Polyphony refers to the equal distribution of sounds in a text. By introducing the two concepts of "conversational logic" and "polyphony" in the book entitled as; the Problems of Dostoyevsky's Literary Theory, Bakhtin laid the foundation for the invention of a new concept called intertextuality by Julia Kristeva. Methodology: Examining the personality of women and their issues is one of the important topics of the fiction literature of the Holy Defense. Although these people were mostly active behind the fronts, their role is not only not less than men, but in some cases it has been more when it comes to the fields of service and support. The present research was carried out using a descriptive and analytical method via targeting the statistical population of the works of female writers in the “holy defense” literature. Such works of art have been studied and analyzed based on Bakhtin's theory of polyphony. Results and Discussion: Having investigations over the personality of women and their issues is one of the prominent topics of the fiction literature of the Holy Defense. Although these people were mostly active behind the fronts; But in the field of service and support, their role is not only not less than men, but in some cases it has been more. The selected novels have been studied and analyzed based on Bakhtin's theory of polyphony. Changing the dialogues between the characters of these stories has led to a sufficient understanding of the characters. What is evident in these stories is the different characters and their verbal communication. The current research intends to use Bakhtin's theory of polyphony to deal with the following topics, such as investigating the people's personality, ideology and thoughts. Conclusion: Integrating the monologue method, Carnivalesque, monotony, and allowing the other (enemy) to express their theories (especially the novel, I am alive), the female characters (Comprisign a wide range from the author to the female protagonist in the novels) using the monologue method, have portrayed a face of the righteousness of the holy defense. Polyphony, in these novels, has led to the recognition of the "other". The presence of this "other person" in the studied novels, except the novel I am alive and “Da”, which, in some scenes, is done as a direct conversation with the enemy, is only in passing and without conversations. In general, it can be cocluded that, despite the presence of different voices and different viewpoints, as "the other", the novels are still far from the characteristic of dialogism from Bakhtin's point of view. Because, due to his democratic belief, he does not accept any superiority of one voice over another and he believes that all voices must be heard at the same level

The notion of love is one of the recurring themes in world literature. With the aim of investigating the Love-making styles in the relationships of the characters in The novel L'Ame enchantée, the two theories of Sternberg, American psychologist: "love triangle" and "love as a story" have been utilized as the criteria of measurement. This research is a theoretical study, in a library style, which was conducted with analytical-descriptive method. The scope of the research is addressing the first part of the novel translated by Mahmoud Etemadzadeh, which was published by Doostan Publishing House. The hypothesis of the research is the possibility of examining and explaining the styles of Love-making based on the aforementioned theories. Paying attention to the internal and external factors affecting love, in describing relationships and creating debates between characters to clarify their inner stories and attitude towards love is a recurring method in this story. Precisely, it can be considered as the author's special style. He has expressed the characteristics of the two components of intimacy and excitement from the three components of love which defines the three types of love, Liking, Infatuated love and Companionate love. We can see a number of love stories: Art, House and Home, Game, Religion, Sacrifice, teacher-student, Travel, Dream story. Introduction: This article, after introducing "Romain Rolland" and his novel "L'ame enchantée", according to Sternberg's theories (i.e. triangular theory of love and love as a story) analyzes the love styles of the characters, especially "Annette", the main character of the story. In the first part of this great novel, titled "Annette and Sylvie", a number of romantic challenges and faced which should be examined so as to answer a few questions in this article; Is it possible to provide an explanation for these romantic challenges using Sternberg's psychological theories about love? What are the components of love in the first part of the novel "L'ame enchantée"? Which types of love are mentioned in this part of the novel? According to Sternberg's theories, what kind of love stories are we dealing with? Methodology: The scope of the research addressed the first part of the novel "L'ame enchantée". The elements and characteristics of Annette's romantic relationships, in this part, have been matched and analyzed with two theories about love from Sternberg; "The Triangular theory of love", and "love as a story". Last but not least, the presented research follows a descriptive-analytical procedure which has utilized a library method for data collection. Results and Discussion: "L'ame enchantée" is one of the best fiction works of the 21st century by the great French writer "Romain Rolland". By dealing with diverse aspects of the characters in the novel, he expresses their attitude towards human values (especially love) and shows the impact of various social and religious factors on it. It is the story about one of the first modern French women, Annette Riviere; who stands in front of narrow-mindness and wrong and old thoughts of his people in order to have an independent life. The novel takes place in Paris at the beginning of the 20th century. At the beginning of the story, we meet Annette who has lost her mother and now her father and her prosperous life and facing many problems. Sternberg presented The Triangular theory of love in the late 1980s, which methodically stated the components of love. According to the presented theory, love has three components: (a) intimacy, which encompasses the feelings of closeness, connectedness, and boundedness to be experienced by individuals in love relationships (b) passion, which encompasses the drives that lead to romance, physical attraction, and sexual consummation, and (c) decision/commitment, which encompasses, in the short term, the decision that one loves another, and in the long term, the commitment to maintain that love". (Sternberg, 1986, 119). The intimacy component refers to those feelings in a relationship that promotes closeness, bonded ness, and connectedness that it includes, among other things, feelings of (a) desire to promote the welfare of the loved ones, (b) experienced happiness with the loved one, (c) high regard for the loved one, (d) being able to count on the loved one in case requireds, (e) mutual understanding with the loved one, (f) Sharing of one's self and one's possessions with the loved one, (g) receipt of emotional support from the loved one, (h) giving of emotional support to the loved one, (i) intimate communication with the loved one, and (j) valuing the loved one in one's life (Sternberg & Grajek, 1984).The passion component of love comprises those motivational and other sources of arousal that lead to the experience of passion. In a loving relationship, "sexual needs may well predominate in this experience. The other needs, such as those for self-esteem, nurturance, affiliation, dominance, submission, and self-actualization, may also contribute to experiencing passion. The decision/commitment component of love consists of two aspects, a short-term one and a long-term one. The short-term one is the decision that one loves a certain other. The long-term aspect is the commitment to maintain that love. (Sternberg, 1986, 122). These three components can be combined and, according to the amount of each component, create different types of love, which are named as: Non love, Liking, Infatuated love, Empty love, Romantic love, Companionate love, Fatuous love, Consummate love. In the mid-nineties, Sternberg proposed the theory of "Love as a Story" and tried to find an answer to the question of why a person falls in love with a certain person and does not fall in love with another. This theory states that everyone has a story or stories for love. "Love", as a matter of fact, is a story that individuals are the authors of. The main point of this theory is that we unintentionally fall in love with people whose stories are exactly like our story or similar to it, but the role of that person in his story complements our role in our story. Annette's romantic relationships are formed among her social relationships. She meets different people and has different experiences. Annette's relationships with her father, sister and some other young people were examined in this article. Roland first creates a situation where a new character enters Annette's life story, then describes his occupational characteristics, appearance and physical charms to prepare the ground for love, then his family, social and describes his religion. IT makes the characters to face each other and find out each other's opinions and depth of feelings through long conversations; in a way, it creates a debate that is the product of the characters' attitude towards life and love. We can consider Romain Rolland's way of dealing with various social, religious and even historical issues through the expression of different forms of love, his special style of thinking. He presents different forms of love and explains various issues that affect love. In each part of the novel, according to the cultural, social and religious status of the characters, he reveals their attitude towards love well, and in this regard, he uses the description of the details competently. "Rolan" considers the inner attitude of each person and the external factors in the way of making love. They shape the stories they consider for their love lives based on the insights and attitudes of their cultural, religious, family, and social environment and use different descriptions, discussions, and images. These stories can be explained by Sternberg's theory. Conclusion: All three components of "Sternberg's love triangle", i.e. intimacy, passion and decision/commitment, can be understood well in the author's way of expression. He displays the elements of "intimacy" component, especially secret telling, heartache and support in the behaviors, mentalities and long conversations between the characters. In dealing with the emotion component, stimulating and motivating romantic behaviors such as looking, touching, kissing and hugging, which are elements of this component. He does not forget the existence of the "commitment" component is more dependent on the type of insight and attitude of people than the other two elements; therefore, due to the difference in the type of social vision of the characters, the element of commitment can be found less in their relationships. Roland describes and narrates various types of love including "liking", "infatuation" and "Companionate love" among the characters. The romantic stories were identified in this part of the novel based on the theory of "love as a story"; they include "The Game story", "The Art story", "Object story" (House and home story), "The Religion story", "The Sacrifice story", "The Travel story", "The Teacher and Student story" and "The Fantasy story". The multiplicity of these stories in the novel shows the author's broad insight and his knowledge of the society he has addressed in the novel.

Social criticism, concerning the relationship and interplay of society and literature, is referred to as a literary criticism and is an instrument for the study of the social structures of literary texts. Lucien Goldman, a sociology theorist of literature, has presented views on the meaningful relationship of literary structure of texts, especially novels, with social constructs, by genesis formative design. The present study, following a sociological point of view borrowing its general principles from Goldman's social views, attempts to evaluate the latest fictional work of the contemporary realist writer Jalal Al Ahmad (Sangi Bar Guri) and, through that, the criteria that are appropriate to the structures of the author's era are examined. This novel Examines and analyzes appropriate criteria to the structures of the author’s society. The findings indicate that Jalal Al-Ahmad, in one of the most important concerns of his personal and family life, explicitly and delicately refers to the common social components of his life and tend to believe that this link is required to design and criticism. He has dealt with the cultural, political and social problems of his life.Introduction:The element of society is one of the forms of literary criticism which aims at examining the relationship and mutual influence of society and literature. This type of criticism is considered as a hang-up for the social structures of literature. Lumin Glaman, a researcher and theoretician of the sociology of religion has proposed some components in the context of the connection between addition toward the literary structure of time, and social structures by presenting the viewpoint of constructionism in the poem. The charter of the Persian language remained open. The current research is based on a sociological perspective that borrows its general principles from Guldehan's social views. “Sangi Bar Guri”, referred to as the latest fictional work of Jalal Al Asl Tostdeh (a contemporary realist), examines and extends the appropriate criteria with the structures of the author's contemporary society. The findings of the research indicate that Al-Ahmed in Sangi bar Guri connected one of the most important aspects of his personal life with a great deal of subtlety to the common social structures of his time and in the shadow of this link cultural, political and social issues. He has presented and criticized such issues all over his lifetime. According to the criteria presented in Goldmann's theory, the most basic component of the above-mentioned point of view is the social class, and each of the individuals belong to diverse groups or social classes. Furthermore, his world is affected by the norms of those classes and groups. Therefore, the creator of the literary work is not an individual, however, is a social class and the writer is actually the mediator of the worldview of that class to his audience. There is a mutual relationship between the social and cultural components of the society and the literary structures of the texts, and literary works (especially stories) are considered as a tool for projecting the cultural, economic, and social problems of different classes of society. The middle and weak class of the society (problematic class), which contains most of the writers of literary texts, try to raise their suppressed needs by presenting the problems of the society, even if their efforts do not reach the desired result. The influence that the author of the text takes from the society can cause various reactions from him, such as the rejection of rebellion, surrender or a combination of various thoughts. Every human behavior is a meaningful response to a specific situation, deconstruction, and structuralism which can also be a meaningful response to the prevailing conditions. This component is related to the concept of dialectics, which is one of the basic concepts of Guldehan's thought. It is linked to the society and leads to a balance in cultural and social conflicts. The dialectic of Goldman and the followers of the Marxist school expresses the thoughts and views of the turn which are an effort from the contradictions and social contradictions are born when Incidents occur in the literary work, and the psychology of the characters is formed through those incidents. Jalal Al Ahmad, in his latest work of fiction, as a member of the middle class and a problematic member of the society, refers to the problems of couples who are blessed by the father and Motherhood, the shadow of these references, the kind of view that people in the society have about this problem, while describing his childlessness and the efforts made by him and his wife to fill this. In this direction, he tries to respond to his inner need, which has both a family aspect and social classes, and during this effort, he shows various reactions, including accepting the rejection of the rebellion and finally surrendering. Al Ahmed adheres to the traditions due to his family upbringing and cannot accept them completely. He thinks about structuralism and, on the other hand, wants to break the structure. Due to this intellectual and spiritual duality in dealing with the problem of childlessness, he experiences various contradictions and seeks to find a new solution to save himself from confusion. The hero of the story finally fails to reach his goal. A child is a stone on the grave of happy parents, so the need to have children is only to preserve the name and the continuation of the human race, and this necessity is derived from It is sati that the author tries to be its end point.