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Critical discourse analysis in text review employs both social and linguistic approaches, transcending the levels of sentences and words while considering the situational context in which the text is created. From a social perspective, discourse is defined as a situational context, whereas the linguistic approach focuses on the textual context. The novel Dakhil Eshgh, which references Imam Reza during the socio-cultural transformations following the imposed war, articulates the discourse of women's resistance. The aim of this article is to decode the hidden semantic layers within the critical discourse of the novel by utilizing the components of Van Dijk's ideological square. In the present research, the text of the novel Dakhil Eshgh, which embodies the ideology of resistance and features circular discourse structures, was extracted and analyzed using a qualitative method. This study addresses the question: How is the discourse of resistance employed in the novel Dakhil Eshgh, with a focus on Van Dijk's ideological square? The findings indicate that all language choices at various levels align with the author's objectives and the promotion of religious ideology and values. The use of linguistic strategies—such as selecting valuable, emotional words, employing repetition, and expressing intellectual foundations, mental imagery, and emphasis—are the most prevalent techniques for representing the self and the other in the aforementioned novel.

 The blessed Surah Taha in the whole Quran, in terms of dealing with prophecy as one of the main religious topics of Islam, having structures as well as a common structural axis and matching with the praise poems of the Holy Prophet (PBUH), being the same name with that Prophet, the coherence of the verses in terms of balance The phonetic with the name Taha, which is the cause of exaltation, has unique characteristics. The structures in this research are categorized concepts that have been selected from the Persian praises of Rasool Akram (PBUH) and adapted to the structures of this surah in a polytextual way.

 Qualitative and theoretical study for the formation of this article has been done by library method and content analysis.

 The structures of "monotheism, praise, condemnation, admonition, forgiveness, supplication, boasting, thanksgiving, lamentation, oath, prayer, expectation, hope" are part of the literary-religious structures of Surah Taha, which are based on the concepts of this Surah and shared with the poems praising the Prophet. Akram (PBUH) have been diagnosed. The structure of "admonition" is the common axis of the structures of the praise poems of the Holy Prophet (PBUH) and Surah Taha.

 In the poems in praise of the Holy Prophet (PBUH), from each of the thirteen structures mentioned, there are verses that have a hypertext relationship with some verses of Surah Taha that have the same structures. The type of correspondence between the literary-religious structures of Surah Taha and the praise poems of the Holy Prophet (PBUH) has led us to a new method for researching the structural correspondence of poems and verses of the Holy Quran.

Ritual poets and traditional praisers have commonalities in literary styles, especially in terms of structure. These commonalities are due to the constant use of ritual poems and traditional forms by the chanters. It is important to preserve and prevent the distortion of these commonalities. This research, using a qualitative-theoretical method and a library method and content analysis, examines the structural commonalities between traditional eulogies and Fatemi's odes of praise in the poetry of three contemporary poets (Ali Ahi, Gholamreza Moyed, and Seyedreza Moayed). The findings show that all three poets end their Fatimid eulogies with a lamentation structure that is common at the end of eulogies. This structure or its similar structures clarify the structural commonality between the traditional madah and Fatimid madhhi odes. The analysis of the linguistic style of these structures reveals eleven sub-structures: monotheism, praise, condemnation, argument, lamentation, ghazal, admonition, praise, tahsari, expectation and supplication. The method presented in this article can be a model for examining and recovering other styles in ritual poetry.

The novel entitled Mr. Pip by Lloyd Jones, a writer from New Zealand, was written under the influence of Charles Dickens' Great Expectations from which the author borrows the name of one of the characters in his story, Mr. Pip. The events of this story take place on an island in Australia. Lloyd Jones deals with issues related to the island's civil wars in the early 90s with the aim of offering realistic education which is in line with equipping students with the skills needed to adapt to the environment. In Mr. Pip, Lloyd Jones tries to represent people and social situations as they are in real life. To do so, the author of the novel adopts a problem-oriented approach that realistically expresses the surrounding realities. The present study aims to answer a fundamental question related to this novel: what are the most important components of Educational Realism in Mr. Pip? Findings suggest that in Mr. Pip, Lloyd Jones emphasizes the role of the teacher in training students by shedding light on the effects of the teacher's teachings and innovation in persuading and motivating the students in the class.

Pastoral tales, as one of the most important type of oral texts, have intra-textual and extra-textual features related to the situational context of the text. Kurdish pastoral are an arena of confrontation for binary opposition the interpretation of which, at both linguistic and narrative levels, will reveal aspects of structural and semantic structure of the text. The present study has tried to study binary oppositions in Kurdish pastoral tales at both narrative and linguistic levels from a semiotic approach. To this end, ideas from linguists and cultural semioticians as well as structuralists’ views in the field of narration have been employed. The results of the research show that, in Kurdish pastoral tales, the hero on quest challenges oppositions and negative semantemes in order to reach the valuable object and the desired world. In this procedure, the hero considered as a cognitive agent and the self belonging to a culture, interacts with the ecosystem of "other" and "another." The hero then achieves the desired result in a process of “removing alterity”  or ”fighting against the other” Eventually, by rejecting the alien world and the undesirable other, he returns to his culture and the world in which peace and balance is restored.

Today's poetry has undergone extensive changes due to the huge transformations of the last three decades. Even though the sonnet has found its own way through changing its nature and has, hence, been able to experience new worlds to the extent that the contemporary sonnet shines brilliantly as the most prominent form of poetry, Nima's goal was to break away from the prosody systems and change the linguistic and contextual identity of the poem. Indeed, the contemporary ghazal has only been successful in applying some of Nima's desired changes, such as breaking the narrative (lack of linear and narrative structure of the ghazal). Using a descriptive-analytical method based on interdisciplinary library studies of literature and philosophy, authors of this article have reached the conclusion that attributes like having contemporary poetic concerns, using a simple and intimate language, benefitting from vast vocabulary and introducing familiar elements are not enough to call ghazal “modern”. In other words, traditional poetry forms are not suitable for modern poetry because they are limited, predictable and universal. On the contrary, modern poetry is unlimited, unpredictable and subjective. So, a ghazal can be said to be modern (modern) if it completely loses interest in the past. A sonnet which is even remotely connected to the past and simultaneously introduces modernistic concerns, should not be considered as a modern sonnet; it should, rather, be discussed as innovative.

Marzbān-nāma, a work by Marzban – Ibn – Rostam, is one of the works that has significant literary capabilities in terms of literary and aesthetic structures. It includes a collection of fables which is the result of a rewrite in the seventh century AH. The narratives in it worth being analyzed and considered in terms of the science of narratology. In the fourteen narratives of this work, women play significant role. In this study, the position of women’s acts was examined based on Greimas’s model. What the study of conformity between the narratives and narrotology model depicts is that the scientific analysis of the elements and constructive actions in the anecdotes are the ones which can reveal the latent and valuable angles of this work as a specific grammar of female activists in the existing stories Russian formalists or structuralists were the first to study the narrative structure of stories. They attempted to find rules and formulas for literature, just like mathematics, and formulate the stories according to those rules and formulas. After the formalists, structuralists such as Grimas, Todorov, Genet and Bremon focused on the study of narrative structures. They sought to discover patterns and chain relationships in stories and did not pay attention to story elements. In fact, in addition to the development of poetry and stories, the studies conducted by the structuralists also established the field of narratology, which sought to find the grammar or the structure of the story, in other words, the rules that govern the stories. Grimas followed narrative-research extensively. He proposes an action model that is very abstract in nature and should be able to describe the narrative in a general sense and specify all the possible elements of a narrative and the types of combinations of these elements in literary and non-literary texts. He believes that the narrative has two levels, surface and intrinsic; in which surface level is manifested in language, while intrinsic level creates a kind of common structural body. Accordingly, he states that every story has a number of steps and each step has a number of action patterns. Grimas proposed six types of actions in the form of three mutual pairs and created three action patterns: 1- The first action pattern: In this pattern, the subject and the object are mutually paired. The subject is the main actor of the narrative and the object is what the subject is looking for. In fact, the subject of the story is looking for the object of the story. 2- The second action pattern: In this pattern, the sender and receiver are mutual pairs. The sender (motivator) is the agent or because that sends the main actor (subject) to follow the object and the receiver is the person who benefits from the subject's action. 3- The third action pattern: In this pattern, the mutual pair is the opposing and helping force. An opposing force is someone or an agent who tries to prevent the subject from reaching the object, and a helping force is someone or an agent who helps the subject to reach the object. The presence of both opposing and helping forces depends on the level of communication between the sender and the receiver and the subject. The more difficult it is to achieve the object, and the material and spiritual value the object has, the stronger the presence of the opposing force. The helper helps either at the request of the actor or without his request. Also, the helper is either internal, such as intelligence, sagacity, resourcefulness, cunningness, etc., or it is external; that is, it is a character that helps the main actor.

Pastoral literature is one of the literary genres that have been neglected, while both the formal and informal genres of pastoral literature deserve a serious attention of researchers with literary and interdisciplinary approaches. Pastoral stories are part of a huge system of informal pastoral literature. So far, no determined research has been done in Iran with the approach of analysing pastoral themes on these texts. Nature has a special state in pastoral literature. The available research intends to investigate the twofold functions of nature (sanctity-magical function and the function of advancing the narrative) in the informal pastoral stories of Khaomirabad region of Marivan city. To achieve this, the approach of content analysis has been used with insinuating the structural analysis of stories, and the special place of outstanding natural elements such as mountains, caves, water, fire, springs, stones, and plants in stories have been investigated. The results of the research show that first, natural elements and places in pastoral stories are the cross point of the most important events of the story; secondly, the presence of magical and sanctity images in the description of nature evokes a positive image based on the necessity of respecting nature and the ecosystem in the reader. Thirdly, the structured schema in the mind of the reader and the audience provides an appropriate condition for generalizing the holiness and supernatural power of the natural elements described in the story to the physical world around him.

Folklore is an integral part of every nation’s literature, with a remarkable diversity in type and inclusion. A large part of this literature includes tales, legends, myths, songs, ballads, adages, riddles, and versified games transmitted orally from generation to generation over the centuries. All-important literary genres can be seen in folklore. One of these literary genres is Pastoral literature, which has been specially addressed by western scholars yet a new subject for analysis in the folk literature of the Iranian people with its various languages and dialects. Pastoral literature includes creative works presenting rural life and its landscapes in an ideal way for the audience. In this research, the authors studied the Pastoral literature of the rural areas of Khavmirabad district of Mariwan city based on the lifestyle, particular geographical region, rich language and culture, and literature of the Kurds. The study aimed to provide a background for more familiarity with Pastoral literature and examine its status in Kurdish oral literature, more specifically in Kurdish folk literature. The study results showed that ordinary people had created Pastoral literature in their lives and social failures, regrets, and desires. Research data was collected through library and field studies, and the descriptive-analytical method was adopted.

This research has been conducted with the aim of examining the educational teachings in ancient texts based on "Marzbannameh". Many of the great works of Persian literature are works written in the form of educational teachings. The book "Marzbannameh" is also one of the valuable works in the field of educational literature, which is full of various religious, cultural, social, moral, political, economic, etc. concepts that can still be useful for today's generation by passing centuries from its writing. And be useful to future generations. A large part of the topics in this book are moral and social issues that are important topics in every period of human life, and the author accompanies the audience in all the stories by emphasizing these teachings. Research findings show that in the educational teachings of this book, the author has the greatest emphasis on timely thinking in affairs, constantly consulting and accompanying the righteous in any work so that it can be said that his specific view to thought is beyond any other subject.