Any text linkes to the mind of the audience and the world by PARATEXTUALites. Nafahat ol-ons is including Jami's prose works which has the ability to be survey PARATEXTUALity. In this research, Nafahat ol-ons's PARATEXTUALites were identified and divided into two categories according to the genette's theory and investigated. The outer and inner ELEMENTS of PARATEXTUALite in Nafahat ol-ons have been formed proportionally and fit with main text. On one side, each of these PARATEXTUALites deep down the audience's understanding and realizing and on the other side guide the audience how to use this work. Different people have created this ELEMENTS, including author, scribe, publisher, editor and andandother critics, researchers and writers that of all these, author and editor have a great role in thetext readings. Also critics, researchers and writers have presented other PARATEXTUALites in various formats, have provided the possible of more communication with the text and its advertising and criticism. The maximum number and most important outer PARATEXTUALites of Nafahat ol-ons related to the time that this book was written.

Purpose: The purpose of this study is to identify the textual and PARATEXTUAL ELEMENTS in retrieving fiction from the readers’ perspective in order to provide the most appropriate access points for the readers and to improve access to fictions based on the readers’ needs. Method: The current research is an applied study in terms of purpose, applying a mixed method that was conducted using the sequential exploratory strategy. The statistical population in both stages of the study were readers of fiction literature who were selected by purposive sampling strategy. In the first stage of the study, 14 fiction readers participated in a semi-structured interview. The collected data were coded and analyzed based on the six-step content analysis framework of Brown and Clark using MAXQDA software (2018 version). In the second stage, the opinions of 12 experts in the field of fiction were used to weigh and determine the importance of each textual and PARATEXTUAL element. The data collection tool at this stage was a pairwise comparison questionnaire designed based on a 9point scale. Expert Choice software (version 11) was used to analyze the data in this stage. Findings: According to the results of the first stage of this study, 24 textual and PARATEXTUAL ELEMENTS in the form of 6 main themes were identified by a thematic analysis of the interviews. Then, according to experts, 19 of these extracted ELEMENTS were selected as important ELEMENTS in fiction retrieval. In general, the results confirmed that from the readers’ point of view, textual and PARATEXTUAL ELEMENTS could be useful in understanding, evaluating, determining and selecting sources, and help fiction readers to find relevant fictions. By use of textual and PARATEXTUAL ELEMENTS of fiction to enrich library catalogues and create several access points, we can improve fiction retrieval. Therefore, it is suggested that these ELEMENTS be used in the design and development of retrieval systems in libraries in order to increase the efficiency of these systems and enable successful search and retrieval for fiction readers. Originality/value: The results of this study provide a starting point for the development and design of fiction search and retrieval systems based on the needs of the reader. By using both textual and PARATEXTUAL ELEMENTS of fiction to enrich library catalogs and create several access points, we can develop and improve search and retrieval systems and increase the efficiency of this systems in retrieving fictions which readers want.

Objective: The purpose of this study is to identify PARATEXTUAL ELEMENTS in retrieving fiction from the readers’,perspective in order to provide the most appropriate access points for the readers and improve access to fictions based on the readers’,needs. Methodology: The approach of this research is mixed method conducted with sequential exploratory strategy. The statistical population in both stages of the study was readers of fiction literature. In the first phase of the study, a number of 14 story readers participated in a semistructured interview. The collected data was coded and analyzed based on the six-step content analysis framework of Brown and Clark using MAXQDA software version 2018. In the second phase, a questionnaire designed based on 5-point Likert scale was used to data collection and the collected data was analyzed by structural equation modeling. Also, SmartPLS software version 3 was used to analyze the data. Findings: According to the first stage results of the study, 12 PARATEXTUAL ELEMENTS in the form of 4 main themes of bibliographic information (including author name, title, publisher name and date of publication), information about the author (including biography, awards and other works of the author), review/ criticism (including 3 ELEMENTS of other readers' comments, literary criticism and reviews and summaries about the work) and physical characteristics (including two ELEMENTS of cover design and number of pages) were identified by themes analysis of the interviews. In the second phase of the study, the results of the structural equation modeling test confirmed the effect of review and criticism, bibliographic information, and information about physical characteristics of work on improving fiction retrieval. Based on the results, reviews and criticism that have been written about the work with path coefficient of 0. 517 more than other PARATEXTUAL ELEMENTS about the work could help the reader to retrieve fiction. After that, the bibliographic information with path coefficient of 0. 287 and the physical characteristics of the work with path coefficient of 0. 148 are in the next ranking. Since the value of t-statistic for author information is less than 1. 96, the effect of this variable on fiction retrieval is not confirmed. Conclusion: PARATEXTUAL ELEMENTS could be useful in perception, evaluation, making decision, selecting resources and help fiction readers to find relevant fictions. With use of PARATEXTUAL ELEMENTS of fiction to enrich library catalogues and create several access points, we could develop and improve search and retrieval systems and also increase the efficiency of these systems in retrieving fiction readers need. Therefore, it is suggested that the PARATEXTUAL ELEMENTS identified in this study, whose effect on improving fiction retrieval have been confirmed, be used as part of describing fiction content in library catalogs. It is also suggested that these ELEMENTS be used in the design and development of fiction storage and retrieval systems in libraries to increase the efficiency of these systems and enable successful search and retrieval for fiction readers.

The present corpus-based study addressed the strategies applied in translating the cultural ELEMENTS (CEs) of the Iranian ‘resistance’ literature into English. The corpus comprised Chess with the Doomsday Machine, Eternal Fragrance, and Fortune Told in Blood translated by Sprachman, Omidvar, and Ghanoonparvar, re-spectively. The Persian books and their English translations were analyzed on three separate levels: On the textual level, CEs were identified and compared with their English equivalents.The findings indicated that the most frequently used strategy is retention. Regarding the first book, Sprachman’s approach, as an English native translator, has been SL-oriented. On the semiotic level, the book cover, and on the PARATEXTUAL level, Sprachman’s preface, where he has introduced the characters of the story and has provided explanations on the Iran-Iraq War, have been intended to attract the TL readership. On the other hand, Omidvar and Ghanoonparvar, as Iranian translators, have had a TL orientation. On the PARATEXTUAL level, Omidvar has provided information about neither the Iran-Iraq War nor the characters. Ghanoonparvar has given some information about the Iran-Iraq War and the story characters. On the semiotic level, Eternal Fragrance has striking differences with the source in Persian while Fortune Told in Blood is similar to its Persian counterpart.

Translator's visibility has been a widely accepted concept in the field of Translation Studies. The purpose of this study was to see whether strategies contributing to translator's visibility, i.e. foreignization and neological translations on the textual level, use of footnotes, dedications and prefaces on the PARATEXTUAL level were used by Persian translators of Silverstein's books. To find answers to the research questions, three poetry books by Silverstein named Where the Sidewalk Ends, A Light in the Attic, and Falling Up, and their two Persian translations by Hamid Khademi and Razi Khodadadi Hirmandi were analyzed.Both translators used the above said strategies, though to different degrees. They were visible in terms of foreignizing strategy with a slight difference of tendency in Where the Sidewalk Ends and Falling Up. Khademi (called Translator 2 in this Research) was found to overtake Hirmandi (referred to as Translator 1) in all the three books, with higher number of neological translations, use of PARATEXTUAL ELEMENTS such as footnotes, dedications, and bracketed information. The implications of using such strategies were seen to be of ideological nature, in a way that Translator 2's voice was heard louder and he exerted more power in raising himself to an authorial status.

Radical orientation in the feminist movement evoked numerous criticisms calling for a more neutral and non-political paradigm toward women. The urge for visibility is a long-established intersection between gender and translation. Paratexts, as ELEMENTS outside the text proper, have created a promising avenue for redirecting translators’ visibility outside the textual background. This study sets out to investigate how male and female fiction translators employ their prefaces as an opportunity to elaborate on themselves as translators and their profession as a delicate and serious task. One hundred translators’ prefaces in the fictions translated from English into Persian were analyzed using thematic analysis. The contents of translation-and translator-oriented themes reflected female translators' preference for speaking in the first person and asserting more personal accounts, whereas men preferred the third-person point of view and focused mostly on introducing the original authors and their works. The overall results of this study showed that female and male translators were mostly reluctant to talk about their translation process and its possible challenges or delicacies.

Radical orientation in the feminist movement evoked numerous criticisms calling for a more neutral and non-political paradigm toward women. The urge for visibility is a longestablished intersection between gender and translation. Paratexts, as ELEMENTS outside the text proper, have created a promising avenue for redirecting translators’,visibility outside the textual background. This study sets out to investigate how male and female fiction translators employ their prefaces as an opportunity to elaborate on themselves as translators and their profession as a delicate and serious task. One hundred translators’,prefaces in the fictions translated from English into Persian were analyzed using thematic analysis. The contents of translation-and translator-oriented themes reflected female translators' preference for speaking in the first person and asserting more personal accounts, whereas men preferred the third-person point of view and focused mostly on introducing the original authors and their works. The overall results of this study showed that female and male translators were mostly reluctant to talk about their translation process and its possible challenges or delicacies.

The PARATEXTUAL ELEMENTS are the thresholds to the world of text. They are considered among indicators which are the key to understanding and receiving a text. In this study, we aimed to evaluate the effect of PARATEXTUAL ELEMENTS and their implications on the process of meaning reconstruction and reception by the reader. In other words, in the light of these PARATEXTUAL ELEMENTS such as preamble and prose titles of Mathnawi Ma'navi, the reasons of Mowlana Jalal ad- Din Muhammad’s employment of PARATEXTUAL ELEMENTS by are considered and analyzed. It can be concluded that the PARATEXTUAL ELEMENTS of Mathnawi Ma'navi play an important role in the completion and orientation of the general meaning of original text. These ELEMENTS are available in order to organize and structure the whole narration and other components of Mathnawi's text, which might seem to lack a coherent organization. In fact, the presence of PARATEXTUAL ELEMENTS in Mathnawi is justified as a compensatory mechanism to mend its outward incoherence.

The aim of the present study was to read the context of Hafez's poems based on Gerard Genette’s theory of transmittance. Gerard Genette believes that hypertexts are the thresholds for entering the world of text and are therefore among the key indicators of textual comprehension and reception. In this research, relying on the trans-textual approach in Genette's trans-textual theory, Hafez's poems are examined. This analytical-descriptive research has been conducted through library studies. Genette believes that there is seldom a text that is naked. In other words, there are always words in the text that cover it either directly or indirectly. Therefore, there is no text without cover. The inner contexts of Hafez's poems in the form of concepts such as "Hafez's titles, Hafez’s narration style, self-reporting, other audience, realistic reading, atmosphere and offerings" and external contexts in form of concepts such as "imitators, contradictions, historians, commentators, illustrators, etc.” can be formulated. Findings indicate that Hafez's poems are a cover for internal contexts that complement the focal text of his poems, playing a significant role in the real dialogue between Hafez and his audience. On the other hand, external contexts around Hafez's poems have been present separately and discontinuously and have provided the ground for criticism and charm of Hafez's poetry.