In Saadi’s Golestan (verse book), we observe a lot of debates among characters. These dialogues may be analyzed from different aspects including stylistics. However, at this essay, the authors are trying to look at Golestan from other view regardless of usual stylistic components and features and with respect to metalinguistic stylistics; namely, review of Polyphony or Heteroglossia in Saadi’s style. The present study, which reviewed the biggest anecdote of Golestan book (i.e. Pugilist youth with his father) by the aid of Mikhail Bakhtin’s Narrative Heteroglossia, indicates that in the field of narrative processing, Saadi has tried to great extent that to reflect voice of all actors and characters in the anecdote with the same volume and to convey utterance of each of them to audiences to the extent that is to be and as it expected. Narrator (Saadi), during the stream of this anecdote, appears in two character and or personality (as actor). In other words, he utters several voices where these voices are usually contradicted to each other and at the same time they are heard by the same volume. Generally, it seems that the given subject (Saadi’s polyphony) may be included in premium features of stylistic structure in Golestan.

Based on Mikhail Bakhtin’s point of view, the Dialogism, novel, more than anything else, is a linguistic phenomenon, which has a fair correlation between its genuine and its feature of heteroglossia. Language expresses the different social and ideological approaches of the utterances within a translinguistics framework. So the novel compiles all of these diverse social and ideological discourses and utterances. Different Character zones and discourses of the narrator, and embedded genres create a world of different voices and ideologies. From a feminist critique perspective (Gyno criticism), the novel Cheraghha ra Man Khamush Mikonam (I turn off the lights), applies social and cultural differences in different discourses to indicate the writer’s womanly standpoint through various social languages and utterences, and therefore, makes grounds for the promotion of the womanly voice in a multi-linguistic system. Here, through a descriptive-analytical method, we are going to study the “Heteroglossia” feature in the novel Cheraghha ra Man Khamush Mikonam written by Zoya Pirzad in the light of Bakhtin’s dialogism, and also from the Gyno criticism point of view, to analyze the diversity of discourses in this womanly novel. In this novel, the womanly awareness is indicated by the writer, the double-voiced discourse consists of the writer’s double-voice discourse and that of the narrator, embedded genres and the Character’s zones display the different social and cultural levels available, which also result in the appearance of a womanly world in the novel.

Bakhtin's concepts of Polyphony and heteroglossia are two of the main principles of modern criticism, especially in the analysis of literary texts such as novels and stories. Polyphony and heteroglossia as potential capacities of a text let the readers analyze novels and stories based on polyphonic and heteroglossic features. This study aims at investigating one of the leading contemporary novels, namely, Sangesaboor by Sadegh Ckubak, based on the principles of Polyphony and heteroglossia. To do so, polyphony and heteroglossia Bakhtin and its various manifestations including parody, intertextuality, literary and historical figures are explained using examples of the novel. In fact, the study aimed at finding if Chubak’s novel has cases of polyphony and heteroglossia in their different manifestations.

In light of the Bakhtinian heteroglossia and authorial hybrid construction, the present study sets out to argue how the assimilation of alien stylistics into the realm of social and ideological discourse may transcend the limits of the centralizing logos prevalent in the orthodox poetics. In so doing, first, an analysis of the Bakhtinian concepts is provided to renegotiate his argument on the aesthetic and rhetorical capacities of the prose fiction vis-à-vis the totalitarian poetic discourse. Accordingly, as an innovation, this study suggests that the subversive potentiality of a text stems from both its carnivalesque interrelatedness with a dominant culture and its capability to transcend the limits of the said culture and to revitalize its synchronic and diachronic affiliations to other cultures. To confirm this, a good array of examples is drawn from novelistic texts. In Gunter Grass’ s The Tin Drum, the protagonist’ s mocking attitude towards centripetal fatherhood and his going ahead of clock strokes and hence weaving here-and-now to there-and-then so as to claim possession of his once-beloved woman is a significant case in point. Thus, not only can the marginalized utterances deal with patriarchies of the dominant culture, but also they can restructure their independent sphere based on their internal and external exigencies.

The present study attempts to apply Bakhtin’ s theories of voice to Virginia Woolf's Mrs. Dalloway and Zoya Pirzad’ s I Turn off the Lights which is translated into English under a new title: Things We Left Unsaid. In the light of Bakhtinian reading, this paper carries out a comparative study of these two novels in order to specify the differences between the voices existing in the novels written by two women writers from two different cultures. For that purpose Bakhtin’ s conceptualizations and theories on Heteroglossia and Polyphony are focused upon. Although these two novels have been analyzed by variety of frameworks related to different critics, the study on the characters identity in the light of Bakhtinian theoretical concepts seems new and the comparativeness side of the research adds to the importance of the present work. By comparing these two works, some cultural differences and similarities regarding both women writers are being revealed. It seems that the authorial intentions towards the role of the characters stem from the similar viewpoints although they have been created in different social and cultural discourses. In the novels written by two writers, the process of identity creation of each character which is the product of various existing voices that are linked to one another through the social nature of language, is examined and observed in the light of Bakhtinian theory.

The present study sets out to investigate the narrator’s textual position in Grass’s The Tin Drum. Although authorial self-dramatization through affinities with one or more characters in the work is undeniable, this study mainly concentrates on the inner interpenetrations of heteroglot utterances as uttered by an unreliable first person narrator, Oskar Matzerath, in the light of the Bakhtinian concepts of carnivalesque and polyphony. Through the evasiveness and irresponsibility of the narrator’s act of story-telling, a carnivalesque world is created—a world in which numerous marginalized, unvoiced, and alien utterances interact with the phallocentric as well as the logocentric forces of the dominant culture. In brief, the present study made use of the notion of narrative vagueness in Grass’s The Tin Drumto demonstrate the Bakhtinian sociodialectical principle operating through the stratified, heteroglot utterances of other-speechedness, a functional and yet thematic principle working through the tempospatial, chronotopic nature of languages.

Numerous dialogues between quietism and effort in Masnavi show the importance of these concepts in (Mawlavi) Rumi’s thoughts. Bakhtin’s theory of polyglossia is based on dialogue. According to him, polyglossia is examination of pro and con ideas in various linguistics types where one voice is not predominate one. This can be a proper theory for considering Rumi’s view about quietism and effort. Based on Bakhtin’s theory of polyglossia, in the present article, ideology, outlook and kind of language of characters in two stories of Masnavi are analyzed. The results show that heteroglossia is prominent in the dialogues referring to the ideology and outlook, but in the dialogues where ideology is lacking it is not so prominent. Yet the narrator gets involved in the dialogues and obtains same results for both kinds of narrations. When the story gains distance from heteroglossia, the narrator is the prevailing voice.

This work is an attempt to investigate the possibility of creating narrative and extra-narrative discourses using Gunter Grass’, s The Tin Drum. In this context, through Bakhtin’, s heteroglossia and carnivalesque, the ambiguous and irresponsible narrative of the novel’, s narrator-cum-protagonist is analyzed. Although it is indisputable that Grass, as the author, is strongly vocalized in his novel in the guise of the story characters, full weight is here given to the heteroglossia produced by unreliability and grotesqueness of the protagonist’, s expressions. Besides, this study has examined the method and extent of absorbing the discourse of Otherness into social and historical stylistics of the Self. Besides, it is proposed that any text might be subversive due to its carnival potentialities against logocentric discourses and its ability in breaking cultural barriers and revitalizing its diachronic and synchronic affinities with other subsystems. Therefore, the repressed voices can gain an opportunity for negotiating with patriarchal powers, and more importantly they can reclaim their autonomy by realizing their internal and external requirements. It is hypothesized that different textual utterances –,no matter from what system of power they come –,enter a nesting, floating, and multilevel matrix of discourse formation that is textually multivalent and contextually generative.

According to Bakhtin's theory, the novel as a literary type, appropriate to the spirit of the age and human society, has dialogical relations in linguistic dimensions. A conversational visual novel is the result of the entanglement of languages emerging from the characters, each of them with a different worldview, social and cultural level, is present in the novel and interacts with each other. The novel "Post-e Shabaneh" in a multi-voiced world, with the depiction of different sounds, has the heteroglossia feature, and the language of each character in each part of the novel interacts with other languages. This heteroglossia can be seen in the language, tone, and form of the novel, and its translation is very important, and this article will analyze this feature. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. The present article tries to criticize its Persian translations with a descriptive-analytical method in order to find out how translators dealt with the heteroglossia feature of the novel in the translations. There have been three translations of this work by Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni and published under the title "Post-e Shabaneh". In the study of more than 60 samples of translations in multiple languages manifested in the tone and language of the character and the double-voiced discourse, it seems that each of the translators has been successful in translating the heteroglossia feature to some extent. Banouni has performed poorly in this field and has often not provided an acceptable translation.Keywords: Novel Translation, Heteroglossia, Post-e Shabaneh, Hoda.Introduction The Arabic novel "Barid Al-Layl" by Hoda Barakat is the winner of the 2019 Arabic Booker Prize, and due to its importance in the contemporary Arabic novel, it is also translated into Persian under the title "Post-e Shabaneh" by three translators (Hamidreza Mohajerani, Mansoureh Ahmadi Jafari and Saha Banouni). By explaining this feature of the novel, this article is trying to examine with what components it is possible to translate the heteroglossia style of the novel and whether the translations of this work have been able to reflect this important feature in the style of the novel. Because a good translation of a novel is not a translation of words and sentences, but a translation of all the narrative, stylistic, and linguistic aspects of the novel; the present article tries to criticize the translations of the novel "Post-e Shabaneh" by Hoda Barakat, focusing on its "heteroglossia" feature. Therefore, this article examines the characters' utterances in accordance with the characterization, the interaction of the novel with other literary types, and the interaction of the speech styles of hybridization, polemic, parody, and stylization.The current research aims to answer the following questions:In what components can the feature of heteroglossia in the novel "Post-e Shabaneh" be studied and evaluated?Which of the translators has presented a more successful translation of the heteroglossia feature of the mentioned novel? The hypotheses are as follows:According to the narrative style of the letter in the first part and the self-talk of the characters in the last two parts, the novel "Post-e Shabaneh" has put the speech of the story characters in conversational interaction with other sounds and has established heteroglossia in the language of the characters according to the type of each character. Also, heteroglossia can be seen in the interaction of the language of the novel with other literary and non-literary types in the language of the characters, as well as double-voiced discourse in the interaction of speech styles such as hybridization, polemic, parody, and stylistics.In the examination of the double-voiced discourse of the novel, it seems that the translators have not provided a suitable translation and the interference of sounds and correspondence or correlation or contrast in the desired double-voiced discourse have not been considered.Literature ReviewIn analyzing the feature of heteroglossia in the novel, the following points can be mentioned:Akbarizadeh et al. (2014) in the article Heteroglossia Effects in the Novel Things We Left Unsaid, investigated the double-voiced discourse between the female writer and the characters and narrator's language and the language of literary and non-literary genres, and by studying the three levels of multilingualism in Pirzad's novel for women, they analyzed different elements in the creation of an inconsistent language system in the discourse of the novel.Baloo and his colleagues (2016) in the article Bakhtinian Polyphony and Heteroglossia and Their Presentation in the Novel Sangesabor, besides the polyphonic feature of this novel, paid attention to heteroglossia feature, and while enumerating the characteristics of the sounds of the text manifested in the characters, they also dealt with the conversational relationships between them and enumerated the aspects of parody and consonance between them.Professor Mohammadi and his colleague (2016) in an article entitled Multilingualism and Polyphony: Post-modernism Features in "Possible Night" (Shab-e Momken) Novel, while enumerating the novel's postmodern characteristics, pointed out multilingualism and listed the use of English and French alongside Persian as well as the use of colloquial language and the use of words different from the official language by the characters as manifestations of multilingualism.MethodologyIn order to understand a novel, it is important to pay attention to its linguistic and stylistic layers. Also, it is necessary to discover and understand the different language varieties that have emerged according to linguistic rules. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. This article tries to criticize the Persian translations of Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni with a descriptive-analytical method and library tools in order to understand how the heteroglossia feature of this novel is translated.ConclusionAccording to the analysis of the discourse of the novel "Post-e Shabaneh" by Hoda Barakat; in confirmation of the first hypothesis, it can be found that the words of the characters in the novel in the official language of the letters are appropriate for each character as well as the specific time and place of writing.Heteroglossia can be seen in the language of the characters, in the mixing of the language of religion, popular culture and science in the words of the characters. The double-voiced discourse is arranged in relation to the voice of the hypothetical addressee of each letter, as well as the voice of the society and the ruling presuppositions and taboos. Where another voice has an objective embodiment in the speech of the speaker, we are faced with a hybrid discourse. However, when another voice is implicitly considered during the speech, or the speaker's voice is consistent with another voice, it is the stylistic double-voiced speech, or it is in contrast with the other, and the representation is contradictory. It is very important to pay attention to the interference of sounds in speech and translators should consider the type of personality, insight, and social level of the person as well as another voice, to represent the double-voiced speech and translate the multiple voices and choose the appropriate interpretations and words. Among more than 60 selected samples, some of which were mentioned in a small part of the article, it was observed that the second hypothesis is somewhat true and the translators tried to translate these heteroglossias in an experimental way and were successful to some extent.

Language is the fundamental of meaning and semantic in discourse, a system that is complex more than any other. In other words, a novel is a linguistic phenomenon that is an integration of different styles of speech, heteroglossia and voices where there exist dialogism relationships. Showing peculiarities of different social languages, a novel represents the dialogism relationship in a way that it can make the narratives more understandable because this multiplicity of languages is effective in the layer of discourse. Likewise, the knowledge of author about literary and non-literary texts is effective in creating inter-textual relationship with previous texts. A review of the novel language, from the view point of critical ‘dialogism’ shows how novelists apply special style, secrets, and phrase. A descriptive - analytical study shows dialogism features in the language of the novels of Ibrahim Koni. In his novels, Koni tries to portray desert and its creatures in a way that makes the desert an absolutely beautiful world with full of emotion. Even, he accords particular language to plants, animals and others desert objects. Further, he uses intertextual relationships between languages of his novel and a variety of other literary, mythological, religious and historical languages and changes the novel language into a tableau of dialogism based on language heterogeneity and ideology of desert creatures.