The idea of predestination and free will and the role or lack of fate in life events have always existed in the minds of thinkers and have been reflected in different ways and works. The common people have been involved with these two dimensions, and its manifestations have entered the folklore and native literature of a land and region. The purpose of this article was to examine the deterministic view in the folktales of Hormozghan province, from perspectives such as the roots and reasons for the spread of this idea, those quarreling fate, the degree of fit between fate and an individual's competence, the issues supported by fate, among others. Reasons such as the inability of the populace to make changes and achieve their desired goals, religious and historical roots and the remnants of some Zurvanism beliefs are among the factors that lead to this idea. Emphasizing the role of fate is one of the weak points of plot in these STORIES and the weakening of rational actions. There is no logical connection in many cases in terms of the proportionality of the power of fate and a person's ability. In these STORIES, fate is present as an active and powerful fictional character or as a judge who regulates their actions and results so that, in the end, the supported character is defeated against powerful quarrelers such as the king. From the thematic point of view, the most frequent topic supported by fate is the marriage of two characters.

This paper examines the Quranic STORIES in a narratological approach. First the problem of the research is explained and the hypothesis is raised that there is no relationship between the Quranic STORIES and narratology. The paper then reviews the literary on the litrary approaches to the Quran and the Holy Book. Then the genealogy of the words related to Quranic STORIES is given. In the next part, the components of narratology i. e. story and text levels are described and then some Quranic STORIES are studied in a narratological approach, using these components. Finally, more than 10 findings are proposed as the results and the paper concludes that there is a positive relationship between the Quranic STORIES and narratology.

The problem of polyphony in narrative texts, which has been dealt with by theorists such as Michael Bakhtine and Oswald Ducrot, makes it possible for the readers to consider the narrative text with a new attitude, to put each word in connection with other words and consider them as rings of paradigm in the total narration of the story. Any kind of writting can include an imaginary, true and interpretative conversation on the part of the writer or the narrator -who is not necessarily the writer, but the sender of the message in the text- expressing the idea on the part of a character in the story. In many narratives specially in the twenthieth century, these phones combine. Therefore, the reader, as the receiver of the message, should develop his own interpretation of the text.

The purpose of this article is to examine the image of the city and its features and appearances in five fictional works of the war. For this purpose, five fictional works in the field of war literature were selected. Their content was examined in terms of urban elements and manifestations. The results of the survey showed that in these effects of war in cities, bombing, poverty and famine, destruction and destruction of the appearance of cities and urban elements due to war have the highest frequency. In all these works, the city has a dark and sad appearance. The cemeteries and hospitals are full of martyrs and injured people. Most of the people of the city have either migrated or those who remain, poverty prevents them from leaving. The elements of urban modernity are a tool in the war. Also, the approach to war fiction from the perspective of urban elements indicates that the names of the cities involved in the war have been used the most.

Humans vivify their world by expressing emotions. “Expressing Emotion” is regarded as a way to improve the life quality and establish effective human relations. Since Mahmoud Dowlatabadi's works are realistic, they are considered as suitable texts for analyzing human emotions and their emotional interactions among the contemporary fiction literature. This article mainly aimed to find answer for the following questions: “what emotions”, “why”, “how” and with “what consequences” are expressed in the characters? A descriptive-analytical method used to analyze the emotions of characters in Mahmoud Dowlatabadi's STORIES (Missing Soluch and his ten short STORIES) in a qualitative-quantitative manner. The results indicate that negative emotions, especially “anger and fear” mostly for reasons as economic problems, climate aggressiveness, cultural poverty, serfdom system, etc. are manifested in different ways as riots and collective fights, verbal and non-verbal violence (physical and mental harm, etc.) and they overcome positive emotions. Positive emotions as “joy and love” are relatively few and often appear in the non-verbal behaviors of the characters- sometimes manifest in some local and national traditions and often “indirectly”. Effects of emotions, sometimes the cause of the emergence or transformation of other emotions, appear in the biological-cultural-social aspects of their personalities in different ways. Extended abstract 1. Introduction Persian literature is an integral part of the culture and history of the Iranian people. In the meantime, fiction is a source to know human moods and relationships in societies, which describes “the quality of a person's life” among different classes of society. From one point of view, literary works are the result of thoughts, beliefs, emotions and experiences of writers and poets, and from another point of view; it reflects people's thoughts, emotions and common discourses.“Emotions” has a great advantage in literature and psychology in such a way that without them, literary and fictional texts seem to be “soulless and meaningless works”. There is rarely a poem or a story that evokes our emotions without expressing them. With these artistic expressions full of emotion, the susceptibility of the audience is also doubled and the writer and reader feel empathy. Emotion in the realm of artistic creations has been considered as “the artist's inner dealings with individual issues and phenomena of the outside world” and it has been divided into three categories: “individual”, “collective” and “humankind”. (Kolahchian, 2013:226).This element is so critical in improving the literary quality of prose and verse texts. In this regard, it is possible to get a detailed explanation by studying the works of Mahmoud Dowlatabadi, as one of the great contemporary Iranian realist story writers. Dowlatabadi's works show the confrontation of the old and new worlds. (Rezai Jamkarani, 140:289). He portrays the suffering and bitterness of people in a traditional society that has dominated people's beliefs, superstitions, minds, thoughts and lives. (Salahi et al., 1401:161). In this article, the author chose the novel “Missing Soluch” and nine short STORIES with the aim of “explaining the quantitative and qualitative aspects of human emotions” in Dowlatabadi's works, and investigated “the reason of emergence”, “the ways of occurrence” and “the effects and consequences of creation” (or change) the types of emotions of the characters in the above-mentioned STORIES. In this research, among the many emotions that have been discussed in Persian literature and psychology, six main emotions (fear, anger, disgust, sadness, joy and love) - based on Caroll Izard's opinion- were the basis of the analysis. Research Method This research was done in a “descriptive-analytical” way, citing reliable library sources. After “defining, expressing the types and place of emotions” in the two fields of Persian literature and psychological science, as well as introducing terms related to fiction literature such as: novel, story, short story, etc., “human emotions” in terms of “quantity and quality” according to the questions and the main purpose of the research were studied among the selected works. Discussion 3.1. Positive Emotions (Excitements) in Dowlatabadi's STORIES 3.1.1 Love Love or interest is an emotion that creates the desire to explore, manipulate and obtain information from the surroundings. Interest is the most common emotion in daily practice. Maslow defined the hierarchy of needs for a healthy person and thought of it as a ladder that must be climbed in order. In fact, what led Maslow to a new understanding of human beings were emotional phenomena: love, respect. (Shamlo, 2004: 123). Interest is the source of “creativity, learning and developing human abilities and skills”. The level of interest in any subject determines the amount of attention and energy directed to that subject. Love in the two meanings of loving and being loved is an image that is rarely seen in Dowlatabadi’s works, and it is often in the form of indirect behaviors (verbal and non-verbal). His fictional characters for various reasons including, educational methods, ethnic traditions, cultural values and common and ruling customs (especially in villages and the past) on the one hand and social repressions, economic poverty, problems and life hardships etc. on the other hand, don't have much motivation and opportunity to express their emotions, especially love. 3.1.2.Happiness Happiness is actually the highest level of positive emotion. According to Ekman (1992), the cause of happiness is the pleasant consequences related to personal success and interpersonal communication (Rio, 1397: 187). Happiness is capable of neutralizing negative emotions and increases human strength in facing unfortunate events. This emotion is a forgotten element of a certain period of time that was written by Dowlatabadi. In his works, the characters either have no reason to be happy or they have not learned how to express it “clearly and directly”. 3.2. Negative Emotions in Dowlatabadi's STORIES Negative emotions has appeared more than positive emotions in Dowlatabadi’s works; the hardships of village life, migration, lord-serf society, economic and cultural poverty, personal and social insecurities, patriarchal system, life events, natural disasters, etc. are among the main causes of these types of emotions in the characters of his STORIES. 3.2.1. Fear Fear or anxiety is a state of mind that is described by obvious negative emotion and signs of physical tension, during which the person predicts future dangers and misfortunes worryingly. Anxiety can include feelings, behaviors and physical reactions. (Rio, 2017: 345) 3.2.2. Anger “Anger is an emotion that arises in response to certain situations, whether real or imaginary, and is associated with physiological arousal and aggressive thoughts. These situations, such as threats or attacks, loss of material or spiritual assets, are under the control of others (Rio, 1397: 187). In general, failures and not reaching goals are the main cause of anger. This emotion has a high frequency in the STORIES and mostly appear in the characters of these STORIES in ways such as: types of violence, physical, sexual, mental abuse (verbal and non-verbal), group fights, family fights in front of the force and oppression of others or towards women or due to poverty and its consequences (addiction, unemployment, physical and mental illnesses, etc.). 3.2.3. Sadness The feeling of sadness does not necessarily mean depression. Rather, it is an emotion that humans naturally need like other emotions, but one should be careful to maintain its balance in life. “Loss is the trigger of feeling sad. Grief is actually a feeling that occurs as a result of losing ability or after feeling a loss.” (Rio, 2017: 366). By knowing the feeling of sadness, you can accept it at the right time and then eliminate it. 3.2.4. Disgust Disgust means: “getting rid of something polluted or rotten.” Through this emotion, which is considered a defense mechanism, incividuals actively discard some psychological or material aspects of the environment (Rio: 2017: 334). Conclusion Among the selected emotions, negative emotions, especially the two feelings of anger (31%) and fear (23%), have the highest frequency, which are created often in response to chaotic life conditions and factors such as: economic crisis, class conflicts, group differences, cultural issues, false social traditions, unsavory customary beliefs, etc. and mostly appears in ways such as: verbal and non-verbal violence (verbal arguments, fights and beatings), individual and collective conflicts, abuses physically, sexually, etc. The characters in the story often show negative emotions “easier and faster” than positive emotions!. Positive emotions obviously have a low frequency and appear more indirectly in the emotional relationships. “The effects of emotions” (individual and social) mainly appear in the form of changes in temperamental characteristics, the appearance or exacerbation of some moral abnormalities, behavioral disorders, physical diseases, severe nervous reactions etc., finally, the degeneration of the target society at various levels. 5.References (All in Persian) Atkinson, R. L.et al.(2005. Introduction to Psychology, Mohammad Taghi Baraheni, Tehran: Roshd publication Baraheni, R.( 1989). Fiction Writing, 4th edition, Tehran: Alborz publication. Tolstoy, L. (2008). What is art? translated by Kaveh Dehgan, Tehran: Amirkabir publication Dowlatabadi, M.(1982). Missing Soluch, 6th edition, Tehran: Cheshme publication Dowlatabadi, M. (1989). Guzel My Lucky Deer, Tehran: Cheshme publication Dowlatabadi, M. ( 2017). Sepanj’s Record Card, Vol. 1 & 2, Negah publication Rezaei Jamkarani, A. Chiragif, A. (2021). “The Conflict Between Tradition and Modernity, the dominant element of Mahmoud Daulatabadi's works with an emphasis on Missing Soluch”, Scientific Quarterly of Culture Studies-Communication, No. 56, Vol. 22, pp. 289-310, winter. Reeve, M. (2017). Motivation and Emotion, translated by Yahya Seyed Mohammadi, Tehran: Virayesh publication Sayyid Qutb(Shazli),S.E.H. (2019). Literary Criticism: Its Origins and Methods, translated by Mohammad Baher, Tehran: Khane Ketab publication Shamlou, Saeed, 2005, Schools and Theories of Personality Psychology. Tehran: Roshd. Shafiei Kadkani, M.R. (1997). Periods of Persian Poetry, Tehran: Sokhan publication Shamisa, S. (2001). Literary Genres, 9th edition, Tehran: Ferdous publication Shultz, D. P. Shultz, S. E. (2016). Theories of Personality, translated by Yahya Seyed Mohammadi, 10th edition, Tehran: Virayesh publication Salahi, R. A. et al. (2022). “Social-behavioral Influences and Folk Beliefs in Dowlatabadi STORIES”, Ethical Research Journal, No. 3, Vol. 12, pp. 159-181, Spring. Fotouhi, M. (2004). Image Rhetoric, Tehran: Sokhan publication Kolahchian, F. Mirzaei, M. (2013). “The Function of Transpersonal Emotions in Hossein Manzavi's Ghazal”, research paper on lyrical literature, University of Sistan and Balochistan, No. 22, pp. 227-246, spring and summer. Mirsadeghi, J. (2006). Elements of the Story, 5th edition, Tehran: Sokhan publication MirAbedini, H. (2007). One Hundred Years of Fiction Writing in Iran, Tehran: Cheshme publication Watson, J. et al.(2021). Emotion-Focused Therapy Training: An Empirical Approach to Change, translated by Mohammad Arash Ramezani, Tehran: Arasbaran Publishing. Younesi, E. (2004). The Art of Fiction Writing, 8th edition, Tehran: Negah publication

One of the most popular genres in traditional and folk literature is the love story. There are more than 600 Persian manuscripts and printed works of this genre in both prose and poetry. Great poets have paid special attention to this genre in order to either create a literary school or enjoy the mere fun of it. This great volume of work has not been categorized and analyzed so far. In this article, the writer tries to categorize Persian love STORIES based on the type of lovers, theme, historical origins, geographical origins, originality of the narrative, ending, type of love, language, and the method of presentation. A general introduction will first be presented to love STORIES and their development throughout history. This article and the suggested categories will pave the way for further and better studies of love STORIES.

Children are mirrors of the society. So, attention must be paid to them and their literature to instil educational values to them in the form of beautiful pictures of the literature.The STORIES are the best way to reach what is expected from children in their manner and personality.This article is an attempt to concentrate on the educational values in children's STORIES, represented in Kamel Al-Keilani's STORIES.This article, after an introduction to the educational goals of children's literature, and the desired educational values in the children's STORIES, has analyzed the role of educational values in Kamel Al-Keilani's STORIES based on the descriptive and analytical meted.Finally, the article finds that Keilani cares for educational values in his woks. He cares above all, the religious and spiritual values and moralities in his STORIES.

The title of the story is the threshold to the mysterious world of the text. Thus it must be selected artistically to show the quality of the text, despite its quantity and restrictions. Sometimes, the title sheds light on the world of the text and lights the text’s whole material, but sometimes, it hides the text and the reader does not resieve any sign of it. It makes a tension in the mind of the reader to draw him/her to the text, and makes him/her to arrange his/her disturbed mind by reading the text and finding the meaning of it. This research is aims to investing ate the most important textual and extra textual factors, which are efficient in choosing the title of Sadeq Hedayat and Zakaria Tamer’s works, and study the structure and context of the titles and their relation with intra-textual and extra-textual factors that are used to hide the meaning of the text. have several res sons. Attracting the reader and closed political conditions (extra-textual factors) are the main reasons. These titles show the familiarity of the two writers with rhetorical devices. Also they are the reflection of the difficulties and hard conditions of the people’s life and the writer’s current cultures.

Self-confidence and high self-reliance are among the main factors of prosperity and growth in life, and psychotherapist suggest different methods to reinforce them using the STORIES in childhood. Therefore, this research aimed at recognizing and evaluating the psychological methods of teaching self-confidence that are concealed in Iranian STORIES. The research is descriptive and library-based. To analyze the data, content-analysis was conducted. Considering the large population of the study, using purposeful sampling, 141 Iranian STORIES for B and C age groups that involve 7-11 years old children, were selected as study samples. To evaluate the selected STORIES, a researcher-made Matrix, which included the main methods of developing self-confidence, was used. Also, Milles and Huberman’s interpretive approach, which is one of the main scales of content analysis, was employed. At the same time, in order to determine the relation between the variables, Kay Skoer’s statistical test was used. The results show that different psychological methods are used in Iranian STORIES in order to develop self-confidence in children, among which we can refer to reinforcing positive thinking, self-steem, nourishing sympathy, nourishing creativity, helping self-identification and self-acceptance, reducing of humility sensation, and adjusting megalomania.

"Hymn" in Masnavi has an esoteric meaning on the one hand, and an artistic role, on the other hand, which chiefly explains the themes and concepts of the STORIES. Rumi, in order to express mystical points and to complete his inner thoughts, considers the use of hymn as an effective way to explain the mystical themes of the STORIES. It should be known which purposes of mystical speech Rumi intends to achieve by using hymns. Accordingly, investigating the role of hymn and its function for a better understanding of the foundations of Masnavi aesthetics, explicating Rumi's mystical views using the interpretative approach of story’, s symbolic meanings, and explaning the way of expansion of its concepts according to the rhetorical potential of this literary genre, are the main objectives of the present research. This article, through applying a descriptive method and using content analysis and criticism of research components, evaluates Masnavi hymns in relation to the content of its STORIES. The results of the research show that prayers change the field of Masnavi aesthetics to a great extent and its use not only expands Rumi's mental findings in new meanings and forms, but also clearly interprets the symbolic and ambiguous concepts of the story based on it.