Evidentiality concerns with how the speaker achieved the information and the way it was conveyed to the addressee. The languages which have evidentiality have an indication through which the hearer understands that whether the speaker has seen the act himself, heard it from someone, inferred or just assumed it. Even though Persian does not have evidentiality but it has some evidentiality strategies such as mood, perception verbs, quotations and passives, oaths and pronouns. The present study aims at investigating the relation between evidentiality and characterization in Pellekan, a play by Akbar Radi, so as to answer A) what evidentiality strategy dose the author use in characterization and B) what evidentiality strategy do the characters use in interaction with one another? In order to answer these questions, the dialogues in which the author informs his readers about a character and those in which the characters show their own charcaters in conversation have been investigated and based on the findings it was clarified that direct evidentiality was of greater use by both the author as well as the characters.

In the series of narratological studies, Marie-Laure Ryan has presented a more comprehensive categorization. She described four categories of narrative space, the spatial extension of the text, the space that serves as container for the text and the spatial form of the text for the study of space in narrative. Applying Ryan’ s terminology, the present paper has adopted a descriptive-analytical approach to study Ryan’ s categorization of space in Radi’ s plays. The study of spatial frames and their relations to setting and story space in the selected corpus of Radi’ s works indicates a particular type of continuity between the spatial frame and the off-frame space in such a way that his spatial frame does not separate the stage from its surrounding world; quite the contrary, it frames a part of the narrative universe. The characters, objects, dialogues, voices, and visual signs constantly put the visible spatial frame in interaction or in contrast with invisible narrative world. The frame of the stage that often acts as a fence against its surrounding world breaks down by the end of the play to let the chaos of the narrative world penetrate into the stage frame.

Drawing on modernist techniques, the play Az poshte shisheha by Akbar Radi expresses an unrelenting challenge of the intellectual with the new-fangled, vulgar modern trends. In order to express his view, Radiemploys doubles in his characterization. He creates two female characters that stand in opposition to each other, one represents modernity without originality while the other is an ordinary woman with the same intellectual and psychological concerns. In a way, almost all characters of this play, especially the women, symbolically represent different social strata and ideologies. Considering the central role of women in this play, theanalysis of their characterscan reveal the author's outlook towards the major conflict of the play.

"Seven Tales of the Road collection" (1349) written by Akbar Radi one of the social critical collections in the solar forty decades. The main characteristic of this work is on the realistic approach on the regional literatures. In this collection, Radi tries to express the quality of mutual socialism through the dialectic relations and involving peoples. According to Bakhtin views, the dialogism lies in the nature of any artwork. This paper presents a discussion atmosphere of the quality of human life in Akbar Radi story, insisting on analytical-documentary approach and incorporation of elements of "self" from Bakhtin's philosophy of dialogism and symbolic action theory of Herbert Blumer. Its reading in the form of non-identity dialogism represents different aspects of contemporary human fragmented, bases and different social classes (urban and rural) in social relations. Metamorphosis of interactive dialogue with the provision of polyphony among characters of "Seven Tales of the Road collection" of Akbar Radi is upon the philosophy of symbolic action formed by the technological and conceptual developments during the lifetime of the author.

This study investigates the origins of rural drama in Iran and presents a comparative study with pastoral drama. Pastoral drama is a subgenre of rural drama. In Pastoral drama, the emphasis is on dramatic effects such as spectacle, music, and sentimental characters. The focus of rural drama is on the social and human aspects which often could be found in rural sociological studies. This kind of approach in western drama is very modern and new. Its origin goes back to 1850s with Turgenev's A Month in Country, a movement which was followed by Chekhov's Uncle Vaniya and three other plays, namely The Cherry Orchard, Three sisters, and The Seagull. All the events of these plays happen in Russian rural atmosphere depicting the change in the life and everyday experiences of rural people. Among the four plays of Chekhov Uncle Vaniya is a unique rural drama that later becomes a model for other playwrightsall around the world especially Iranian playwright, Akbar Radi. Radiunder the influence of Chekhov's rural drama has written two rural Iranian plays, namely Marg dar payiz [death in autumn] and Dar meh bekhan [sing in fog]. These plays represent the most fascinating aspects of Iranian rural life. This experience also has influenced other branches of art such as poetry, fiction, and cinema. The process resulted in the improvement of the Iranian humanistic drama.

Language plays a fundamental role in Akbar Radi’s works. Therefore, language-based approaches can help us understand their dramatic action. This article analyzes “From Behind the Windows” from a linguistic stance by using William O. Beeman’s views. William O. Beeman (1947-), an American anthropologist, considers language as a tool for exercising power and indicating the different statuses of people in social situations. He examines every action, regardless of its moral value, or its unethical burden, from the perspective of its communicative role. His book, Language, Dignity and Power in Iran (1986), is important from two aspects: first, it is a suitable model for us to see how anthropological studies can serve linguistic and dramatic studies,second, it helps us see our character as an Iranian from the perspective of an external observer. Therefore, it can be a suitable model in creating language-oriented drama and can be used in analyzing the behavior of Iranian characters. In this book, every action, regardless of its moral value or its unethical burden, is examined from the perspective of the communication role. According to Beeman, there are two categories of symbolic cultural contrasts that shape the control aspect of communication events. Internal/external opposition and hierarchy/equality opposition. In his book, Beeman does not cross these two categories of opposition, but one can also see a kind of correlation between them, which occor in the play “From Behind the Windows”. This play depicts the thirty-year life of Bamdad and Maryam and their family relationship with Mrs. and Mr. Derakhshan. During these thirty years, while the Derakhshans are always progressing, Bamdad and Maryam are pushing back both in their private and social lives. Furthermore, we show that the atmosphere governing the discourse between the two couples in the show, as well as the atmosphere governing the discourse of each couple, is a kind of intermingling of internal-external and hierarchical poles. During the 30 years of family relationship, we have increasingly witnessed the formation and expansion of the intimate relationship between two couples. One witnesses economic and social advancement of the second couple, and the rule of the “host-guest” position creates a hierarchical relationship between the two couples. In conclusion, “From Behind the Windows” is a work that is completely based on two opposites, and in this play, Akbar Radi, in the form representing two lifestyles, allows the audience to decide which is better: “science or wealth”. Certainly, analyzing the play at the lexical level (as Beeman describes in his book), can provide the audience with more information about the power relations in the play. Also, a similar research in other works of Akbar Radi can help clarify the power relations between exemplary characters in Radi's works. In the same way, a similar research in the works of other Iranian playwrights that is based on the language, will be useful and enlightening.

The present article is intended to comparatively analyze characters and themes in Ofoul by Akbar Radi and An Enemy of the People by Henrik Ibsen. The research methodology of comparison is based on Francois Jost’ s theories on motifs, types, and themes as well as Linda Hutcheon’ s A Theory of Adaptation. Investigating the characters and the themes of these two dramatic works and despite rather similar characters and the themes, Radi made some very adept differences to impart the sense of localization and probability. Themes such as the animosity of the powerful towards any change in the people’ s conditions, the insistence of the intellectuals on their own ideas, the treachery of the close friends to the intellectualism, the abuse of the common in the hands of the powerful, loyalty of the wives, and in the end the defeat of the intellectuals are seen in both works. Akbar Radi takes his subject matter as well as his characters from An Enemy of the People but creates them anew so as to adapt them to the needs and values of his addressees i. e. the Iranians. Investigating characterization and the ways of adoption in these two works show the comparative nature of this study.

No doubt of Ashura event is the great epic and unmatched in human history. This is because of the poets of all different nations and peoples have explain that different aspects and have expressed them emotions in different formats. Among the poets in Arabic Literature is Sharif Radi who is Himself a descendant of Imam Hussein (AS). Among the poets of the Persian language can be named Adibolmamalek Farahani who with his brilliant Ashura Refrain mechanic has showed his art، and Among the poets in Turk poets is Fuzuli baghdadi who Is written Ashura poems and with Hadikatu's-suada and is the focus of most attention among the Turkic-speaking poets. This paper wish discussed common underlying Hosseini Lamentations of Odes of Sharif Radi، Return-tie of Adibolmamalek Farahani and Hadikatu's-suada of Muhammad Fuzuli with Analytic method. The poets According to their position in the cultures and separate courses each of them with different motives have expressed Imam innocence in the event of Ashura. Thus، despite different motivations for the burning of expression overlap in their contents is visible، Common themes، such as Attention of the three poets to issue of Karbala and Mention of Imam Hassan (AS) martyrdom in dealing with the event of Ashura، thirst، tears، and hurt the testimony of the Prophet (PBUH) because of event of Karbala is from these cases.

Information, structure as well as phonetic, syntactic and semantic construction, has been one of the subjects of attention among linguists in recent years. Since information structure or , in other words, the way of distributing syntactic structures in dramatic texts is of great importance, the textual totality of the play ofool by Akbar Radi is used as linguistic data and as evidence in the analysis of the construction of information in sentences. To the knowledge of the authors of this research, no research has been conducted on the arrangement of sentence information in the dramatic genre; To this end, Akbar Radi's play entitled ofool was chosen as the corpus of research. The research method is descriptive-analytical. In order to analyze the informative structure of sentences, some phonetic, lexical and syntactic rules have been analyzed and summarized in this research. The findings revealed that this play is not the case of exception and encompasses all the advantages of this linguistic devices. In their own turn , these devices can be served to demonstrate staging, characterization and other dramatic thems. This linguistic devices are also used to serve the aesthetic aspects of the dramatic genre and create textual cohesion.

Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture, are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’ s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofool text. So at first, we are facing linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.