امیرحسین زنجانبر

Drawing upon the theory of conceptual metaphors, Forceville has introduced a novel categorization within the domain of visual metaphors. According to his system, a pictorial metaphor can be the result of an image alone or the result of an image interacting with text. Consequently, a metaphorical cover design, under Forceville's framework, can be attributed to the image on the cover or the interplay between the image and the book's title. This research delves into the comparative analysis of the cover designs of the original English edition of the picture book "Hug Me" by Ciraolo and its Persian translation, employing Forceville's typological approach. This article answers three questions: 1- What kind of metaphors and similes are used in the cover design of the mentioned books? 2- How does the typography of the title conceptualize the visual metaphors on the cover? 3- What are the similarities and differences between the visual arrays of the cover design of the English and Persian versions of the work? The study explores the interactions of design elements on each cover across four key areas: 1) the inherent interaction within the image itself, 2) the interaction between the image and the legible aspect of the title, 3) the interaction between the image and the typographic aspect of the title, and 4) the intrinsic relationship between the legible and typographic elements of the title. While the image on the cover and the semantic equivalence of the title are maintained in the Persian translation, the typography of the title undergoes modifications during the translation process. Thus, a comparison of the cover designs can shed light on the metaphorical role of the title's typography. This research is the first in Iran to consider both the legibility and typographic aspects of textual elements in the analysis of visual-verbal metaphors. Preliminary findings suggest that, in line with Forceville's typology, the metaphorical and analogical interactions between the image and the legible aspect of the title are consistent across both cover designs. However, the metaphorical and analogical relationships between the image and the typography of the titles in the two editions are not identical.

Anime, which originated in Japan, is broadly defined by Japanese speakers as animation; however, internationally, it specifically refers to animations produced in Japan and Southeast Asia. One notable example is Toshishun, released in 1981, which serves as a focal point due to its legendary structure and mythological ambiance that resonate with Georges Dumézil's tripartite ideology. Dumézil, a renowned French scholar in mythology, posits that Indo-European myths are characterized by three distinct types of action: those associated with sovereignty, warfare, and craftsmanship. Actions linked to the warrior class are primarily characterized by physical prowess; for instance, sorcery and peacekeeping are categorized under sovereign activities, while agricultural labor pertains to craftsmanship. Dumézil argues that this triadic structure mirrors the class systems present in the prehistoric societies of these cultures. Notably, Atsuhito Yoshida, a Japanese researcher, was among the first to extend Dumézil's framework beyond Indo-European contexts. He suggested potential interactions between Scythians and Japanese populations within the Siberian steppes while attempting to validate Dumézil’s tripartite ideological system within Japanese folklore. Contemporary mythologists following Dumézil assert that these three forms of action can also be found within fairy tales and children's narratives influenced by ancient myths. This study intends to illustrate through a descriptive-analytical approach how this tripartite ideology manifests within anime influenced by mythology—specifically focusing on Toshishun. The inquiry seeks to elucidate how these three ideological actions operate within this particular anime context. When Dumézil refers to ideology, he does not imply its conventional philosophical interpretation; instead, he uses it in a manner akin to theology to describe a catalog of myths along with their deities and associated concepts. The findings suggest that Toshishun subtly embodies Dumézil’s mythological tripartite ideology across multiple dimensions including narrative archetypes, heroic endeavors, spatial symbols, and magical aides. Ultimately, this ancient tripartite ideology persists—whether consciously or unconsciously—in modern human thought processes and artistic expressions.  Toshishun serves as an exemplary case of how traditional mythological structures continue to influence contemporary storytelling through anime. By examining the interplay between these ancient ideologies and modern narratives, we gain valuable insights into the cultural significance of anime as a medium for expressing complex themes. The enduring nature of Dumézil's tripartite ideology highlights the relevance of historical frameworks in understanding modern artistic expressions and their impact on audiences today.

Images and texts mutually influence and shape each other's meanings. Barthes, Scott, Nikolajeva, and most theorists of text-image interaction have primarily focused on the linguistic aspects of written texts when examining image interaction. However, in certain literary-artistic genres, such as book cover designs for children and adolescents, the visual aspect of the title's lettering also contributes to create meaning, in addition to its linguistic meaning. Consequently, the title's logotype interacts with the cover image and the novel's content on both linguistic and visual levels. This article aims to consider the visual aspect of the title's lettering in addition to its linguistic meaning. This descriptive-analytical research, relying on Scott and Nikolajeva's perspectives, addresses how the four elements—novel content, cover image, and the linguistic and graphic aspects of the title's lettering—interact. The case study includes the cover design of two adolescent novels from the "D" age group: one, the Persian translation of Carlson's "The Family Under the Bridge," and the other, the Persian translation of "Soul". The research results indicate that, in Scott and Nikolajeva's five-level classification, besides the linguistic layer of titles, their visual layer can also be considered in the process of meaning interaction, leading to a multifaceted reading of the cover design.

Love is a pivotal human emotion and a prevalent motif in lyrical literature. Informed by Tomashevsky’s introspective methodology, this study explores the tangible depiction and embodiment of love in Reza Mouzuni’s children’s story, titled “The Ice That Fell in Love with the Sun.” The thematic framework of a literary piece, in Tomashevsky’s view, is a tiered system comprising a collection of hierarchical micro-themes, at the base of which are atomic motifs. In other words, the interplay of constituent motifs shapes the thematic framework of all literary works. Tomashevsky posits that thematic analysis is inextricably linked to the examination of the motif system and its underlying motivations. Motivation is defined as the rationale which validates the inclusion of a specific atomic motif within the thematic system of a literary work. In differentiating between Fabula and Syuzhet, Tomashevsky elucidates the correlation and placement of each motif within Fabula and Syuzhet, categorising motifs into two types: dynamic/static and free/bound. This descriptive-analytical study seeks to investigate the functional structure of atomic motifs within the molecular system in light of the romantic theme of the above-mentioned story. This study concludes that the lyrical thematic framework is informed by the interplay of micro-lyrical themes across both Fabula and Syuzhet levels.

Cognitive narratology examines the factors that elicit and interpret a text. One such interpretive structure is counterfactual thinking. When a story character’s action leads to either a pleasant or unpleasant consequence, the story’s moral message is extracted by comparing the existing reality with a counterfactual scenario. In other words, the reader automatically envisions a counterfactual scenario that could have occurred instead of the current reality, thereby preventing the occurrence of the existing desirable or undesirable event. This research was conducted using a descriptive-analytical method and a case study of four storybooks in age groups “A” and “B”. These books are “Uncle Wolf” from the collection of Italian Fables Hand of the Skeleton (Calvino, 2022), “Mrs. Pumpkin” (Sarmashghi, 2015), “The Ice that Fell in Love with the Sun” (Movzouni, 2019), and “The Bell-Footed Goat” (Shamlou, 2019). These stories were purposefully selected due to their alignment with different types of counterfactual thinking. The aim of this paper is to determine how the educational function of the counterfactual thinking template operates in stories, using a cognitive narratology approach. This template is categorized into two directions: “upward” and “downward”, two structures: “additive” and “subtractive”, and three criteria: “self-reference”, “other-reference”, and “non-reference”. By categorizing the stories based on the types of counterfactual thinking, this study demonstrates that the upward direction correlates with a negative approach and didactic-deterrent literature, while the downward direction correlates with a positive approach and didactic-incentive literature.

Cognitive narratology examines the factors that elicit and interpret a text. One such interpretive structure is counterfactual thinking. Humans evaluate events and occurrences not only based on what transpired, but also contemplate how those events could have unfolded differently. In cognitive psychology, "the tendency to construct a non-real aspect for realities is called counterfactual thinking" (Kahneman & Tversky, 1982). Counterfactual thinking activates automatically, comparing the existing scenario with a possible alternative and making judgments between them. This type of thinking is divided into two directions based on orientation: “upward” and “downward”. Upward counterfactual thinking is a process where the individual compares the real situation with a more desirable counterfactual situation that could have occurred but did not, leading to dissatisfaction with the current situation and regret over the lost opportunity (Baron et al., 2009: 92). Conversely, downward counterfactual thinking imagines a scenario that, if it had transpired, would have led to worse consequences than the current situation. Based on this thinking, the individual feels satisfied with the current situation or grateful that a worse outcome did not occur.
Counterfactual thinking also manifests structurally in two ways: additive and subtractive. The additive structure recreates realities by introducing a new element to the situation. For instance, a person might imagine that if their father had undergone heart surgery, they wouldn’t have passed away. In other words, the condition for the non-occurrence of the current event was the execution of an action in the past. The subtractive structure attempts to create a different reality by eliminating elements from the situation. For example, a person might imagine that if they had not transferred the house to their son’s name, they would not now be spending the rest of their life in a nursing home.
Counterfactual thinking has three criteria of reference. An individual who constructs a counterfactual scenario can build the constructed scenario from the existing one by adding or removing an element in themselves (self-reference), in others (other-reference), or in the event itself (non-referential). For example, “If I hadn’t been speeding, I wouldn’t have hit this pedestrian” (self-referential); “If this pedestrian had used the footbridge, he wouldn’t have collided with my car” (other-referential); “If the road hadn’t been slippery, I could have controlled my car” (non-referential).

The term "cognitive narratology" was first introduced by John in the article "Windows of Focalization: Deconstructing and Reconstructing a Narrative Concept" (1996); however, before him, researchers in the 1980s such as Jaus (1982), Tompkins (1980), Perry (1979), and Sternberg (1978) had paved the way for the emergence of this approach.
In the realm of Iranian children's and young adult literature, cognitive narrative research is limited to the articles "Representation of Cognitive Processes in the Story of Auntie Cockroach: Based on Discourse Analysis" (Zanjanbar and Zare, 2020) and "Cognitive Narratology of Humor in Children's Stories: A Schema-Based Approach" (Zanjanbar et al., 2021).

This paper aims to investigate the role of the counterfactual thinking pattern in how the moral message of children's stories is represented. In this regard, by examining and comparing the mentioned stories, it seeks to answer three questions: 1. In these stories, how is the counterfactual thinking schema represented in terms of direction and structure? 2. What is the relationship between the structure of employing counterfactual thinking in the stories and their educational function? 3. In terms of employing the counterfactual thinking schema, what are the commonalities and distinctions among these stories?

This research was conducted through a descriptive-analytical method. The case studies of this paper cover four storybooks in age groups "A" and "B": the story "Uncle Wolf" from the first volume of the Italian fables collection titled Hand of the Skeleton (Calvino, 2022), Mrs. Pumpkin (Sarmashghi, 2015), The Ice that Fell in Love with the Sun (Movzouni, 2019), and the folk tale The Bell-Footed Goat (Shamlou, 2019). These stories were purposefully selected due to their alignment with different types of counterfactual thinking.

Counterfactual thinking manages the reader's judgment by substituting a possible scenario. In children's stories, episodes based on counterfactual thinking are categorized into two "upward" and "downward" directions, two "additive" and "subtractive" structures, and three reference criteria of "self-reference", "other-reference", and "non-reference". Upward thinking is accompanied by a negative feeling and dissatisfaction with the occurred event. Therefore, episodes based on upward counterfactual thinking employ a deterrent teaching method and instill fear of adverse consequences. With a negative and alarmist view of outcomes, they dissuade the child from performing certain actions or behaviors. In contrast, since downward counterfactual thinking is accompanied by the reader's positive feeling and satisfaction with reality, episodes based on downward counterfactual thinking employ an encouraging and incentivizing method, guiding the child towards certain behaviors with a positive approach. While the case studies in this paper demonstrate a correlation between the direction of counterfactual thinking and the teaching method, they do not find a correlation between the additive or subtractive structure of counterfactual thinking and the presentation of educational outcomes. Furthermore, this research reveals that in terms of complexity in using the counterfactual thinking schema, stories fall into two categories: simple and composite. Simple stories are based on one type of counterfactual thinking and usually engage the reader only once at the end of the story. On the other hand, composite stories form different types of counterfactual thinking depending on various episodes. In this context, composite stories alternate between the “carrot and stick” approach in different episodes. In one episode, they use a deterrent teaching method (stick) to discourage negative actions, and in another episode, they encourage positive actions through an incentivizing method (carrot). In contrast, simple stories employ only one of the two deterrent or incentivizing teaching methods.
Regarding the reference criterion, the child constructs the self-referential counterfactual scenario based on identifying with the beloved story character, the other-referential counterfactual scenario based on other characters, and the non-referential counterfactual scenario based on chance events.

In children’s literature, the title functions beyond mere labeling for identification purposes. Rather, the titling itself serves a linguocognitive role. Titles are viewed before the book is opened, thereby they can   convey aesthetic significance by employing strategic typographic techniques that visually preview a book’s tonal direction. The intentional typographic design choice in formatting the title graphically depicts the relative conceptual space the book will inhabit. Additionally, the interaction between the formatted typographic title presentation on the front cover and the illustrative cover imagery contributes an essential role in coalescing the intended holistic cover design impression.This research aims to closely investigate the three-way interaction occurring between “title” (defined here as the linguistic facet encompassing the verbal meaning of the printed title text), “typography” (defined here as the aesthetic facet encompassing the graphical formatting and styling of the printed title text) and “cover image” (defined as the illustrative artwork encompassing the pictorial depiction on the front book cover) within the conceptual structure underlying the unified cover design presentation. The research methodology enacted is applied in nature, based fundamentally in library data collection, and analytical-descriptive in its systematic approach. The target domain under examination focuses exclusively on children’s picture storybooks classified for age groups “A” and “B,” while concentrating deliberate analysis specifically on three recently published titles selected expressly for their diversity exhibited in typographic title formatting and styling choices implemented: The Big Question (Erlbruch, 2009), Wise Honey (Piumini, 2017), and Sun Detective (Bahari, 2017).Unlike former studies pursuing a one-dimensional correlation between title and cover image, this research proposes a two-dimensional identity operating within the functional book title itself. It explores the complex three-way interaction by closely examining how the linguistic reading aspect, aesthetic/graphical typographic aspect, and illustrative cover image aspect relationally interconnect across all three domains through a conceptual triangular dialogue.The book title, like any other written sign, has both a visual and a reader-oriented aspect. This research demonstrates that these two aspects not only individually interact with the cover image but also have internal interactions with each other. Factors such as font size, color, thickness, and font type (visual aspect) can internally interact with the linguistic meaning of the title (reader-oriented aspect). Thus, the cover design results from the triangular relationship of the "reader-oriented aspect of the title," the "visual or typographic aspect of the title," and the "cover image."This triangular relationship initiates with a dual interaction, such as decoding based on the internal interaction of the title (reader-oriented and visual interactions) and subsequently using the decoded information as an introduction for deciphering the codes of the cover image. The diversity in visual structures and themes of each artistic work continues to revolve around a central theme. In each interaction, the main visual structures engage in semantic and interpretative interaction, followed by the sequential interaction of other visual elements in the triad of "title," "typography," and "cover image."

The study of typography in children's picture books serves as a crucial link between the fields of graphic design and children's literature. Given that children connect more effectively with visual language than with written language, the visual enhancement of text in children's books has become a prevalent strategy. Accordingly, the research scope is confined to picture books for age groups 'A' and 'B', with the target population encompassing Persian and English typographies that serve not only a decorative purpose but also as carriers of the text's meaning. The primary objective of this study is to investigate graphic devices that facilitate a conceptual connection with children by transitioning the meaning of words from a linguistic framework to a visual representation. The term 'device' is a concept articulated by Shklovsky, a prominent formalist theorist, to denote the formal techniques employed in literary and artistic expressions. In this context, this article employs a formalist approach to explore how the semantic functions of visual constructs operate within typographic expressions. The research methodology adopted is descriptive-analytical, employing a non-probabilistic purposive sampling technique.

Cinematic opening sequences and posters serve as advertising-artistic tools, in addition to their role in introducing films. Nowadays, typography is utilized in film opening sequences and posters to enhance the artistic and commercial prominence of the title. Typography adds a visual-artistic dimension to the text. Typographic titles in films and posters contribute to the formation of meaning in two ways: extratextual interaction and intratextual interaction. Extratextual interaction refers to how the title interacts with its surroundings, including music, adjacent images, and moving visual plans in the background. Intratextual interaction, on the other hand, involves the interaction between the reading aspect and the visual aspect of the title or its typographic form. This article specifically focuses on intratextual interaction in the titles of children and youth films. This analytical-descriptive study aims to explore the interaction of meaning between the two reading and visual aspects of typographic titles in the opening sequences of films and cinematic posters. The approach of this article is based on the Scott-Nikolajeva theory of the five-fold interaction of text and image, which addresses the interaction of writing and the intertextual reference of the image (extratextual interaction). However, this article innovatively focuses on intratextual interaction (the dual visual and reading aspects of the text) by employing their classification method. The examples chosen for this article have been purposefully selected and include the titles of seven films and cinematic posters for children and the youth: "City of Cats," "Tall Girl," "The Elephant King," "The Secret Life of Pets," "No Fly Zone," "Dolphin Boy," and "Up." These examples were chosen not only for their innovation and artistic significance but also because they cover all types of the Scott-Nikolajeva classification. The prevalence of typographic play in the titles of children and youth films and posters, along with the existing research gap in this area, necessitates this investigation. Based on the findings of this study, in the opening sequences of films and cinematic posters, the film title plays a role not only through external interaction with neighbors such as music and background visual plans but also through internal interaction in five diverse styles of meaning-making: symmetrical, complementary, expanding, combined, and contradictory.

Semanalysis is a method composed of psychoanalysis and semiotics that Kristeva invented to study the subjectivity process. According to Kristeva, human is a divided subject made of two different dimensions of language: one is the masculine dimension of language, known as the symbolic, and the other is its feminine dimension, known as the semiotics. The process of signification (and, correspondingly, the process of subjectivity) begins with the abjection of the mother's body and the leaving of Chora. From the lexical point of view, Chora means the mother's womb, and from the conceptual point of view, it is the reservoir of semiotic matter and the physical place for the formation of the first signs. Language, as the embodiment of the symbolic, determines the boundaries of the subject's identity by withdrawing the semiotic; But the rejected semiotic does not disappear; Rather, in the form of "desire to return to Chora", it always keeps the boundaries of the speaking subject's constructed identity under threat. Kristeva considers the only channel to restore the feminine semiotic and return to the maternal Chora as "revolution in poetic language". Kristeva means this language revolution, defiance of the systems based on male symbolic. The picturebook "Celestial Stone" is one of the titles of the ten-volume series "The Bald Athlete and Her Horse Kori" written by Ms. Parirokh and illustrated by Ms. Keiqobadi (1400) for +8 age group. Based on this, I will use the qualitative content analysis method of comparative type, while re-reading the mentioned work on how the relationship between returning to maternal chora and relieving the depression of modern man. The result of the research shows that the modern subject, who is depressed due to the dominance of the symbolic dimension of language and the loss of maternal chora, can achieve balance by restoring the semiotic.

Letters serve as symbols within both linguistic and visual sign systems, yet their visual characteristics often become overshadowed by their linguistic functions during the reading process. A key role of typography is to rejuvenate the visual essence of written text. Typography not only enhances the aesthetic appeal but also contributes to the interpretive understanding of the text. This study aims to categorise graphic techniques that forge a meaningful connection between the visual presentation of words and their linguistic meanings. Techniques such as estrangement and defamiliarization are of particular interest to formalist scholars. Typography naturally emphasises these techniques through its ability to highlight and make the familiar unfamiliar, thus a formalist perspective has been utilised to explore this topic. This paper investigates how prevalent graphic elements in typography can induce visual defamiliarization, employing the concept of "device" as defined by Shklovsky to denote methods of aesthetic creation within texts. Employing an analytical-descriptive methodology, this research focuses on picture books for specific age categories "A" and "B," selected intentionally. Consequently, books selected for analysis have titles on their covers or title pages that rely heavily on typographic design, either in Persian or other languages, from a collection of one hundred and ten titles for the specified age groups. From this, ninety-seven titles were chosen, and the typographic formalist techniques of eighteen titles are scrutinized within this paper. The study seeks to address two primary questions regarding the typography of children's book titles: 1) What formal devices are employed to generate calligram meanings within the text? 2) How are these formal devices further categorized?The motivation for this research stems from the observation that children have a stronger connection with visual language than with written language, and while the incorporation of visual elements in children's literature is widespread, there is still a notable deficiency in comprehensive research within this domain. The findings of this study indicate that the typography in children's literature can be dissected through an array of formal aspects. This document categorises these formal aspects of typography based on various criteria: the degree of defamiliarization, the functions of the paradigmatic and syntagmatic axes, the levels of intertextuality and independence, the density of visual spacing between characters, and the contextual relevance of letters. This classification aims to streamline the teaching of typography to students and assist researchers in the comparative art fields with their analysis of artistic works.Fundamentally, typography is predicated on the concept of defamiliarization. This research delineates three principal forms of defamiliarization encountered in the typographic titles of children's books: "local," "global gestalt," and "global distributive." a) Local defamiliarization entails the visual alteration of a specific part of the text, endowing it with an iconic function without altering all components of the text. b) Global gestalt defamiliarization converts the overall gestalt, or the entire typographic representation, into an iconic signifier, rather than merely a portion. For example, in "A Crow Like a Crow" (Khodaei, 2009), the full typographic depiction of the word "crow" visually represents a crow. Pic 1. A Crow Like a Crow (Khodaei, 2009) c) In global distributive defamiliarization, calligram elements are not confined to a specific location (such as a single letter or word); instead, they are dispersed across the entirety or most of the letters in the typographic composition. Another method for producing iconic representations of symbolic elements in language utilises both the paradigmatic and syntagmatic axes. For generating calligram significance, typography adopts three approaches involving these axes: substituting a paradigmatic iconic signifier for a symbolic one, replacing a paradigmatic symbolic signifier with an iconic one, and integrating a syntagmatic iconic signifier with a symbolic signifier.a) Replacing a symbolic signifier with a paradigmatic iconic signifier: According to Saussure, the paradigmatic relationship is characterized by the ability to interchange linguistic elements. For example, replacing the letter "O" in "love" with an "I" transforms the word into a new linguistic entity, "live." This principle of paradigmatic substitution is also applicable in typography through the exchange of linguistic-artistic elements. For instance, instead of the letter "O," which is a symbolic (linguistic) signifier, one can employ the image of a heart, which acts as an iconic (visual) signifier (pic 2). Consequently, this linguistic-artistic signifier assumes both iconic and linguistic roles. It visually represents the concept of the heart (as a symbol of love), while linguistically, it stands in for the letter "O." Pic 2. 1ove Can Come in Many Ways (Pierce, 2020) b) Replacing an iconic signifier with a paradigmatic symbolic signifier: In this instance, a sequence of letters replaces a portion of the illustration. Often in iconography, letters assume the role of the entire image. For example, the cover of Das ABC-Spielebuch (Berner, 2010) showcases a cat illustration, wherein its abdomen is ingeniously substituted with a series of alphabet letters (pic 3). Pic 3. Das ABC-Spielebuch (Berner, 2010) c) In typographies that utilise the syntagmatic axis, introducing an iconic signifier does not remove the symbolic signifier; rather, they both exist adjacent to each other, jointly conveying meaning.Regarding intertextuality, the calligrams of the typographic title are classified into three types: image-adjacent inadequacy, image-intertwined inadequacy, and self-sufficient calligrams.a) In image-adjacent calligrams, the image is affixed to the text.b) In image-intertwined calligrams, the typography integrates into a larger image and is interlaced throughout the image's structure.c) In self-sufficient calligrams, the calligram may be mono-media, meaning it exclusively employs the writing system without relying on visual media for its typography.Typographers occasionally craft calligrams by modifying the ratio of letter density to texture. This ratio of letter density to texture is categorised into three types: positive density dominance, negative density dominance, and non-dominance.a) Positive density dominance: The existence of textual content necessitates a backdrop or context. Adhering to the gestalt principle (the figure-ground perception), the dominance of positive space can be observed in two primary areas: within the text characters themselves and their surrounding background. This dominance of positive space within the characters serves to enhance the visibility of the typographic design. In (Karsten, 2019) AaaHHH, the positive density of the letters is achieved through a diverse and varied selection of fonts, thereby highlighting the typography. The book delves into environmental concerns, with a particular focus on the issue of noise pollution in urban settings. Consequently, the typographer has depicted the concept of sound pressure throughout the book by employing the density and variety of fonts for the letters A and H. Moreover, italicizing these letters symbolically represents the direction of the sound pressure (emanating outward from the book). Pic 4. AaaHHH (Karsten, 2019)  In instances where there is a dominance of positive density at the background level, the contrast created between a cluttered texture and a sparsely written phrase can result in the typographic expression becoming prominent.b) Negative Density Dominance: Negative space effectively emphasises typography across two dimensions: at the level of the letters (figure) and the background level (ground). The emphasis at the letter level is achieved by creating a sense of openness and increasing tracking (the overall spacing between letters). When negative density dominates the background, a sparse texture or a contrasting colour tone to the typographic phrase highlights the text.c) Non-dominance: In this context, neither positive nor negative spaces take precedence. This lack of dominance presents itself in two variations: bipolar absence and uniform absence. In the case of bipolar absence, the typographic phrase is divided into two parts. Each segment exhibits localized dominance of either positive or negative space; however, from a gestalt perspective, no dominance prevails. In "How Big Is the World?" (Teckentrup, 2012), the title spans two lines. "World" stands alone on the upper line, with the rest of the words positioned below. The expansive open space surrounding the single word "World" in the title's first line, juxtaposed with the dense arrangement of words in the second line, creates a bipolar density of space. The objective of this bipolar spatial configuration is to visually convey the attribute of "largeness" for the word "world." Pic 5. How Big Is the World? (Teckentrup, 2012) In the context of homogeneous non-dominance, there is a balance between positive and negative spaces around letters, visible in segments and throughout the text. This differs from bipolar non-dominance, where local dominance doesn't affect the overall composition. Homogeneous non-dominance lacks both local and global dominance. As per the figure-ground principle, written content can be both foreground and background. Typography may serve as a backdrop rather than just text, with legible or illegible textures. In "I am the Eighth of Those Seven" (Nazar Ahari, 2012), typography is crucial for texture and spatial dynamics. Children's book covers showcase graphic arts and typography, serving as marketing tools and artworks connecting readers to the narrative. This study suggests that innovative typography results from changing textual structures based on visual elements.

"Conceptualization" is a dynamic process based on which language units serve conceptual operations and background knowledge. Cognitive science experts consider language structure to be a direct reflection of cognition; Accordingly, a single word can have different conceptualizations in different situations. Schemas, as one of the tools of cognition, are general concepts that are created from the internalization of lived experiences and are responsible for organizing, interpreting and exchanging information. Pragmatic micro-schemas are micro-schemas that are called depending on the situational and functional context. This research, paying attention to the macro-schema of self-destruction, seeks to classify the pragmatic micro-schemas and their corresponding conceptualizations. The scope of the current research is children's stories with the theme of self-destruction. Each of the stories is considered as a pragmatic and objective situation for calling a specific micro-schemas of the macro-scheme of self-destruction. The present research with analytical-descriptive method aims to answer how to conceptualize the self-destruction scheme in the situational contexts of children's stories. The result of the research introduces five pragmatic schemas as five different conceptual bases: schemas of discontinuity, continuity, individual discontinuity-continuity, collective discontinuity-continuity, and unwanted discontinuity. For the first time, this article focuses on self-destruction in children's literature

Johnson and Lakoff consider conceptual metaphors as mappings between two domains called source and target domain. The function of these mappings is to objectify the abstract concepts of the target domain through the schemas of the source domain. The purpose of this research is to classify death-awareness stories based on "rebirth" in children's literature. In this regard, paying attention to the metaphor "death is a journey," this article seeks to answer how the schema-images of "journey" work in the conceptualization of "rebirth" and "resurrection." The method of this research is analytical-descriptive, and its statistical population is children's stories with the theme of rebirth and resurrection for the demographic group of early childhood. The result of this research shows that, according to the up/down orientational metaphor and the "path" scheme, the mentioned stories are divided into four categories: resurrection without transcendence, resurrection with transcendence, transfiguration with transcendence, and the chain of renewal. The above categories are also classified into subcategories. For the first time in Iran, this research examines reversible deaths with a cognitive semantics approach.

According to theory of deconstruction by Derrida, meaning is always defermented and the chain of signifiers have no final signification. The objective of the current research is to show that visual metamorphoses are inherently constructive, unless, a constructive narrative prevents this possibility from occurring. "Elephant Buttons" by Noriko Ueno, "I see, I see" by Robert Henderson, "Are you a stork or a woodpecker?" and "I stand on my hand" by Ali Khodaei were chosen for the research topic, because all are based on metamorphosis of the image and at the same time, they have used different styles in creating the metamorphosis of the image. The present article seeks to answer the question “how deconstruction is formed or not in works based on visual metamorphosis”, with the analytical-comparative method. The result of the present research shows that image metamorphosis can lose its adaptive function under the influence of the narrative structure of the text. In more precise words, the visual narration of the text can postpone the chain of metamorphosing images.

The SCAMPER model or "idea-provoking questions" was presented by A. F. Osborn for ways of forming critical thinking. SCAMPER is an abbreviation of seven creative idea generation methods which are adopted from the first letters of the words "Substitute", "Combine", "Adapt", "Modify", "Put to another use", "Eliminate" and "Reverse".In the method of substitute, the idea maker tries to get new ideas by asking questions such as what can be replaced and what part can be replaced.Based on the method of combination, the idea maker achieves a new thing by combining two products, two functions or two previously unrelated goals.The method of adaptation seeks to adapt and adapt similar cases that have existed in other fields, and typical questions of this method are "What can we make this look like?"According to the method of modification, the idea maker seeks something better by enhancing, multiplying, increasing the quantity or quality of the product, or ancillary services. A typical question of this method is "by strengthening or multiplying which part of the product can reach the optimal limit?""Put to another use" is one of the basic and important methods in creativity and idea generation, and it is always in search of other and new applications for existing products and services.The Eliminate method seeks to simplify the product, and sample questions include: What can be eliminated? What if it gets smaller?In the reverse method, the change of sequence and direction is taken into consideration, and a typical question in this method is: "What happens if the mentioned sequential relationship changes direction?"Image transformation has been welcomed by children's audiences due to its playful nature, and because of its background in the works of painters such as G. Arcimboldo, it is always one of the most used techniques in the art of illustrating children's books. But Iranian researchers have not paid much attention to this popular art technique. Parts of the joint article of Noroozitalab and Rostami (2013) have paid attention to the relationship between optical metamorphosis and optical illusion. In the mentioned article, the works of Magritte, Escher, Gonzalvez, Octavio Ocampo and Jos De Mey have been analyzed with re-spect to form, content, composition, color, light, style, structure, lines, etc. In his article (2022), Zanjanbar mentioned optical transformation in children's picture books and introduced it as a special state of "personification". In another article, Zanjanbar (2023 B) paid attention to image metamorphoses in four picture books Are you a stork or a woodpecker? (Khodaei, 2012), I stand on my hand (Khodaei, 2020), Elephant Buttons (Ueno, 1973)  and "I see, I see" (Henderson, 2019) from the perspective of deconstruction. have given.On the one hand, pictures are one of the most important sources of modeling thinking for pre-operational children, and on the other hand, image transformation strengthens children's ability to see things in a different way and to have a fluid and flexible look. In addition, since optical metamorphosis is essentially a combination of game and image; Its importance has always been understood experimentally for illustrators of children's books. Meanwhile, its importance has been neglected in academic research in Iran. This research focuses on the two issues of image creativity and optical transformation for the first time in children's literature.The purpose of this article is to show that the idea of image transformation follows the idea generation model of Scamper. In this regard, this article answers two questions: 1. How does the Scamper model create a creative optical transformation in children's book illustrations?  2. By dividing each of Scamper's seven methods into smaller subcategories, how can the structure of image transformations be morphologically analyzed?The statistical population of this article is children's books based on image transformation. The size of the studied sample is one hundred and ten picture book titles of age group "A", "B" and "C", of which forty one titles will be mentioned below. Most of these picture books are authored. Picture books mean books in which the picture does not have a decorative aspect; Rather, it is considered the main part of the discourse of the story. The method of the present research is inductive and analytical-descriptive. The data collection method is a library and a purposeful sampling method (suitable to the Scamper components).This research has shown that image transformations are the result of using one or more scamper methods simultaneously. In some examples, although several Scamper ideation techniques have been used at the same time; But the role of one of Scamper's tricks has always been more important in creating a optical transformation, and the rest have played the role of facilitator and foundation for its realization. For example, if the optical transformation is the result of turning the book (reverse technique); In the eyes of the reader who, with his active participation, keeps turning the book upside down to find out the ambiguity and multifacetedness of the image; The reverse trick is more prominent than tricks like Combine. This article has divided each Scamper trick into new subcategories.

Anti-war literature is a subset of peace literature. Peace is portrayed in both negative and positive ways. Positive peace is defined on the basis of the concept of moral cosmopolitanism, while negative peace is in contrast to the concept of war. Accordingly, the cosmopolitan stories represent the utopia and the anti-war stories represent the ruined city. The data of this research are picture books with anti-war stories of age groups B and C. This article was written using the analytical-descriptive method and based on the formalist approach to answer how common devices (common formal patterns) are in children's anti-war stories. The result of this research shows that anti-war stories are divided into three categories according to the dominant element of the story based on the part of the triple process of beginning, middle and end of the war: beginning-centered, middle-centered and end-centered. Each of these three categories is further divided into subcategories based on the devices they use. The acceptance of the emerging genre of anti-war literature and the lack of sufficient internal and external research on peace literature for children necessitates research. This article is the first to categorize children's anti-war literature using a formalist approach.

"Global patriotism" is coexistence in a society while respecting each other's differences. Unlike provicialism, which seeks to assimilate and subvert differences, cosmopolitanism welcomes diversity and plurality in society.

Aims, significance, and questions:

The reason for choosing three children's picture books with the common theme of "patriotic peace" from three writers from Madagascar (a society with a history of colonization), Britain (a society with a history of colonialism) and Iran (a society with a history of sacred defense) is that by studying them, the effect of differences the cultural structures of societies are revealed on the difference of representations of a common theme. the present research seeks to answer how the historical-social structure of the writers' nationality is related to the aesthetic structure of their stories. In this regard, the questions of the present research are:a) How does the difference in the aesthetic structure of each of the three mentioned stories lead to the difference in the representation of the concept of cosmopolitanism? b) How does the worldvision structure of the author of each of these works, as three representatives of different socio-cultural classes, relate to the aesthetic structure of their literary work?

This research was carried out with the analytical-comparative method and according to Goldmann's genetic struturaism approach, and its data was collected by library method. The sample group is selected by "targeted sampling" method.

In the plot of all three stories, the problematic character wants "permission to enter" a place like a house or a club and seeks to coexist with others.Ruillier, as a transpersonal agent, in the small and insignificant square (Ruillier, 2014), criticizes those in power who consider the condition of social acceptance and coexistence of the defeated minority to be assimilation and melting into the dominant culture. As one of the minorities who immigrated to France, Rouillier is left between the dilemma of preserving his cultural identity (the African country of Madagascar) and assimilating with the dominant French culture; In order to create the maximum awareness possible, he has displayed the conflict of an immigrant's worldview with the dominant culture of the society beyond in the form of a heterogeneity of a square with a circular door of a house whose gate is designed based on its own circular citizens.Kelly, the English author of the story Can I join your club? (Kelly, 1400), shows his otherness to all the societies of the world (especially the eastern countries) in the duck metaphor. Duck is a problematic character who does not have any common characteristics with the members of any of the clubs. The mentioned story considers each of the clubs to represent a society with a different culture, which rejects the duck as a cultural other. In fact, clubs are a metaphor for societies that do not have the slightest commonality with British culture, like the countries of the East. The choice of characters represents eastern societies (clubs of lions, elephants and snakes) as bigoted, wild, uncivilized and violent, and western societies as harmless and oppressed ducks.In Crazy House (2017), the house is not a geographical place; Rather, it is a discursive space. Each and every pet wants to enter the space of universal discourse (enter home); But the house does not allow any of them alone. That is, none of the animals can experience globalization alone; But when they form a coalition against the foreign common enemy (wolf); The atmosphere of cosmopolitan discourse is realized.

The generality of all three stories is the same in terms of content; But in terms of form, each one is different from the other. The dissimilarity of the aesthetic structures of the text causes the difference in the representations of the common concept of "cosmopolitan" and these representations are consistent with the culture and nationality of their authors.Every writer is a transindividual subject who reproduces the possible and ideal world of his nation in his artistic work. As a transindividual subject of the diaspora class (immigrants), Rouillier seeks globalization. On the opposite point, Kelly, as a transindividual subject and a representative of a colonialist society, seeks to globalize other societies. Mohammadreza Shams as a transindividual subject of a country that had a history of holy defense, although it claims cosmopolitanism; But in reality, it still hasn't separated from traditional nationalism (which is rooted in Iranian culture and in stories, the Shahnameh, etc.) and hasn't accepted border demarcation.

No definition is possible for all aspects of irony. From the perspective of this research, irony requires the presence of three people: the ironist, the victim, and the ironic observer. The ironist refers to a concept with his words or actions, knowingly (with the intention of deception) or unknowingly, but the victim takes the opposite. An ironic observer is someone (often a reader) who is aware of and laughs at the victim's misconception. In fact, irony is based on multiple meanings (sentences are multifaceted, words have multiple meanings, actions and situations have multiple inferences), some of its meanings are in conflict with each other.This study categorizes the types of irony, with a formalist approach, in terms of the type of code, the position of the victim, intertextuality, the degree of irony transparency, and density (the scattering of irony in the text). The research method is descriptive analysis, and its field of study is children's stories. In this regard, this article seeks to answer how irony is formed in children's stories with a formative approach. The present article is useful for humorists in the field of children, and the author has not seen a similar research regarding the classification of ironies, either in domestic or foreign articles.

Cognitive pragmatic schemas are one of the topics in cognitive linguistics, and applying this approach to the study of death in children's literature serves as a bridge between the fields of literature, cognitive linguistics, and philosophy for children. A single word can have different meanings under various cognitive pragmatic schemas. Cognitive pragmatic schemas are dependent on situational and functional contexts. This research aims to categorize the representations of suspended death based on cognitive pragmatic schemas. In children's literature, death is often portrayed as a reversible phenomenon; therefore, this motif has been chosen as the research subject. The statistical sample of the current research is the stories for age groups "A," "B," and "C," works that featured the assumption of its reversibility in their content. Each of these stories is like an practs to call and form the scheme of death. The current research aims to answer how situational speech acts in children's stories modify the frightening representation of death in forming and invocating the schema of suspended death. This article introduces five situational speech acts for the schema of suspended death: resurrection with external stimulus, resurrection with internal stimulus, transformation with external catalyst, transformation with internal catalyst, and delusion. Since concepts like "death" are abstract, philosophical, and emotionally provocative in nature, the way these concepts are conveyed to children has always been a subject of debate. This research, employs a descriptive-analytical method, demonstrates that children's stories modify the frightening representation of "death" by using various cognitive schemas of reversible death.

Considering that children up to the age of twelve are cognitively anthropomorphic, therefore, children's literature without personification is unbelievable to them. Zoltan Kovecses, a cognitive linguist, considers personification to be one of the types of conceptual metaphors. In children's stories, Speaking animals or objects who talk, think, or behave like humans are all anthropomorphic. In the other word, personification is a type of figurative language in which nonhuman things are given human qualities. The intensity of the projection of these human traits (or so-called degree of anthropomorphism) is not necessarily the same for all characters in the story. In picture books, images can objectify the degree of anthropomorphism of characters. Different degrees of anthropomorphism of characters can create potentially different readings for the text. The purpose of this study is to investigate the cognitive function of this plotter array in the characterization of children's illustrated stories. In this regard, the present study, by descriptive analytical method, seeks to the procedure for representing the interaction of characters, according to their degree of anthropomorphism. Because in children's stories, a large part of the personification is objectified in the form of images; Therefore, it is necessary to consider the interactive role of the image along with the bold role of words. The novelty of the present paper is that, first, it examines the personification as a scaled continuum (from the upgrading of an object or animal to a human to the metamorphosis of a human into an object or animal); Second, it studies this non-figures plot creator in the context of visual cryptography. The research questions are: 1- personification is formed in the context of what sign systems? 2- It is graded on which scales and in what way? 3- What is the difference between homogeneous and heterogeneous personification? 4. How do images alienate and depersonalize the characters in the story? The research shows that personification is a graded array, and its intensity can estrange each character in the community in which they play a role. In addition, images play a direct role, in increasing the degree of anthropomorphism and indirectly in the foreignization and domestication of characters. The author has not yet seen a study that examines the interaction of varying degrees of subjectivity in children's stories. The method of data collection is library and purposeful. The research method is inductive. In inductive research strategy, theory includes generalizations that are obtained by induction from data. Therefore, research is concerned with constructing and addressing a theory that begins with data collection and ends with abstract descriptions of the patterns in the data. In this regard, first, the media that are the conduit for the realization of the personification array are categorized; The mentioned array is then examined as a graduated continuum, in terms of intertextuality and intra-textuality, and its subsets are morphologized in each of the two mentioned levels.

"Rhetoric" is the virtual use of sentences to create secondary meanings. In children's books, the image is one of the most important grammatical tools of sentences. Conversely, sentences also change the meaning of images. According to Roland Barthes, written text affects visual text, and vice versa. The purpose of this study is to investigate how text and image interact from a narrative and semantic perspective. The present article seeks to answer three questions about children's literary-visual texts, especially in illustrated stories: To what subdivisions are the five semantic relations of the image with the text (listed by Scott and Nikolajeva)  divided? How does typography anchor their content? Morphologically, what interactions can there be between two texts based on image code? The rhetorical function of the image in picture books can be classified from two perspectives: one from the semantic perspective and the other from the narrative perspective. In this paper, first, from the semantic point of view, the types of interactions between the image and the written text, inspired by the Scott-Nikolajeva division, are introduced and also divided into smaller subsections; then, the rhetorical function of typography and the rhetorical function of pictography (an image formed like a line-drawing of letters) in children's narrative texts are examined, and finally, in the final section, the actions of the pictorial subtexts on each other are classified.  The required data for this paper was gathered through library research method. The purposive sampling was used to select the samples. The research method is descriptive analysis, and its field of study is children's stories. Since the art of illustration is an integral element of children's texts and that the most objective language for the preoperative child is the image, the need for interdisciplinary views of the image and visual literacy is felt. To date, the author has not observed the morphological classification of image functions, which is introduced in this article, in a similar study (both internal and external). Also, for the first time in Iran, this study examines the relationship between image interaction and image, as well as the relationship between typography and text.  Golden (1990) offers five categories for text-image interaction: 1. Text and image are symmetrical; 2. The clarity of the text depends on the image; 3. The image is the expander of the text; 4. There is a semantic burden on the text; 5. The main burden is on the image Nikolajeva and Scott did not consider the Golden classification to be comprehensive and proposed a fivefold classification: symmetrical, complementary, enhancing, counterpointing, and contradictory. This study first tries to open the mentioned five semantic relations by giving examples and shows that these five semantic interactions can be considered on a continuum that starts from the complete harmony of the image with the text (symmetry relationship) and tends to intensify inconsistencies and create gaps between text and image; the other end of the continuum ends in complete inconsistency (contradictory relationship). This study shows that "contradictory interaction" is based on the contradiction between image narrative and written narrative and has a high frequency in humorous and ironic texts. Morphologically, it can be divided into two categories: scattered contradiction and anecdote contradiction. "Scattered Contradiction" can also be used in two forms, "regular" and "irregular". In the scattered pattern, there is a contradiction between the image and the text throughout the text. This scattering can have a regular pattern or no specific pattern. For example, if in all episodes of the text, the contrast of the text with the image is repeated, the contradiction will be "regular scattered". Unlike "scattered contradiction", in the "anecdote contradiction" pattern, a contradiction occurs in the narrative ending between the written text and the visual text. Typography can be used in two contexts: in the context of text, in the context of image. Playing with typefaces that are printed is called typography, and playing with typefaces that are handwritten is called hand-lettering. Whether the wording is printed or handwritten, it creates a different semantic interaction in the narrative. If the text code is placed in an image context (not just an anchor on the image), it is called "image writing" or "word image". For example, in the "Vāv" (Zanjanbar, 2022), a picture of a cow's head is drawn with the word "cow". An Image-based text is an image centered on an image (whether or not text is anchored to that image). One of the results of the study is the introduction of image narrative functions (Syntagmatic interaction, Nesting, Substitution, Parallelism, Paratextuality). Syntagmatic interaction is of two types: time-oriented and space-oriented. In Time-Centered Companionship, images along time form a narrative.  Images in collage, logo-collage, episodic segmentation based on place-orientation. In "Substitution Interaction", an image text replaces the old image and can narrate different functions such as "animation function" and "metamorphosis function". In the "substitution interaction" pattern, part of the image changes and part remains the same. In preschool age group picture books, with the help of creative book-making, graphic, and drawing tricks, it is possible to magically suddenly turn one image into another (play with images). In fact, the new image is replaced by removing part of the old image. Substitution interaction can narrate different functions such as "animation function" and "metamorphosis function". The animation technique can be seen in the two-volume science-fiction series "Ricky Ricotta's Mighty Robot Adventures" by Pilkey (2020). Mosquito wants to destroy the planet by capturing mutant mosquitoes, but Ricky fights him with the help of his robot. The book depicts the exciting scenes of their confrontation with animation. Before animation, the reader is instructed on how to place the hand on the page of the book and how to hold the sheet containing the image and shake it. The two pictures (which are slightly different) are on two consecutive pages of the book (i.e. on two pages with consecutive odd numbers). By holding and shaking the first sheet, the child creates an interaction between the two images and achieves a synthesis called animation. In this animation, the robot appears to have killed the monster and is shaking its arms triumphantly like a gladiator over its corpse. "Metamorphic substitution" can be manifested in the form of "single frame" or "multi frame". The pattern of "metamorphic substitution at the multi-frame level is one of Ali Khodaei's favorite tricks. In "The Same and the Same" by Khodaei (2016), the every other pages of the book are cut in the middle and parallel to the width of the book. That means half the page can be flipped. When half a page is flipped; the images change their nature, for example, what is seen as a mane in the image of the roaring lion, turns into hedgehog blades with a half leaf. Transformations that occur at the single-frame level; they are usually based on the "image ambiguity" array. "Nested interaction" consists of two image-based texts, each inside the other, and the semantic gaps are filled by these nested images (along with their text anchors). In "parallel interaction" the same interaction occurs for two visual texts that narrate two narratives in parallel. Contextual elements such as "material texture, how paper is cut on each page, or die-cutting on the cover" can play the role of catalyst and mediator in spatial-oriented accompaniments to create a narrative function.

Ecocriticism is the bridge between the environmental sciences and literature. Silverstein’s The Giving Tree and Dehrizi’s The Treeless World are both picture books that possess implied environmental themes and share a ‘tree’ motif. The canonical position of The Giving Tree in classical children’s literature functions as a touchstone in comparing similar works, among other nations. This analytic-descriptive research compares and contrasts the representations of environmental elements in the aforementioned works in the light of deep ecology and ecofeminism. Arne Næss, the Norwegian philosopher, coined the term ‘Deep Ecology’ in opposition to Shallow Ecology. Deep ecology connects the understanding of the relation between identity and nature to identifying oneself to a larger eco-cycle known as the ‘Ecological Self.’ Through equating the place of women with nature in a patriarchal system, ecofeminism criticizes the Ecological Self Theory for neglecting the role of gender in the formation of environmental crises. The present article studies the representations of environmental elements and the reciprocal relation between man and nature in the aforementioned works. This research shows that in The Treeless World, the dominant ecological representation is in line with deep ecology and in opposition to ecofeminism; also, it reveals that in The Giving Tree, the dominant ecological representation is in line with ecofeminism.

Jung considers psychoanalysis as archeology of human consciousness. On this basis, the term "archetype", which underlies the theory of the process of individuation, is derived from a combination of the terms archeology and typology. Individuation is the archetype of psychological development which is involuntary, gradual, regular and strong. It consists of a chain of archetypes such as shadow, persona, wise old man, anima. The goal of the process of individuation is the conscious integration of the components of this archetypal chain in the form of a single archetype called "self". Jung's psycho-mythological analysis is based on the discovery and interpretation of archetypes, and in the present research, we use this method of analysis to recognize and interpret archetypes related to the process of individuation in the story The horn that got Croup, written by Hamed Habibi and illustrated by Alireza Goldooziyan. We are also looking for an answer to the question of how the archetypes of psychological development are represented in the text and images of the story. The innovation of the research is that it examines the theory of individuation in a text composed of text and image. In other words, it considers the interaction of archetypes related to individuation in the verbal and visual text. The results show that the pattern of identification in such stories is the reproduction of the archetype of individuality.

Cover design, foreword, captions, cutouts, paperwork, footnote,, and all the extensions that make the text a book, are the paratext. Inspired by the concept of paratext, Yuste Frias coined the term paratranslation. Paratranslation is the translation of the paratexts of a book in order to adapt it to the sign sphere of the target language. Paratextual factors are invisible channels for the influence of translators' ideology. The aim of this study is to investigate the effect of paratranslational factors on changing the dominant discourse of the original language effect. Due to the large number of translations of "The Giving Tree" by Shell Silverstein, from English to Persian, and the various readings of its commentators, the book has been adapted for the subject of translation studies of this article. In this regard, the present research, by analytical-descriptive method, seeks to adapt how different paratextual factors of each of these translations interact. In the field of children's literature, the interaction of text and image has always been considered by theorists such as Nikolajeva. The novelty of the present study is that it generalizes their intended interactions, from the level of text-image relationship to the level of paratranslational factors. The results show that the interaction of text and paratranslation is of five types: symmetric, complementary, expansive, counterpointing and paradoxical. The cultural distance between the original language text and the translated text, as well as the prominent position of paratranslational factors such as cover design,, etc. in the children's book publishing industry, necessitate research.

The Greek myth of Narcissus is a narrative of Echo''s one-sided love for Narcissus. Echo has been a talkative, sweet-spoken girl who after Hera''s curse, has lost the power of speech, and can only repeat one the last word of another. Narcissus is a boy who ignores the love of others and is immersed in his own beauty. In other words, one side of this discourse forms a narcissistic personality, whose self-centered perspective deprives him of seeing and paying attention to the other; On the other side of the discourse, is a character who has no verbal ability to convey his thoughts and emotions. Hence, it is not possible to have a dialogue between the parties to this discourse. This study seeks to show that the bipolarity of echo-narcissism is one of the motifs of the child''s fictional literature, represented in the child-father dual confrontation costume (the father is not necessarily the male parent; rather, a metaphor for each is patriarchal). In this regard, this research seeks to respond in a descriptive-analytical way to how the basis of echo-narcissism is represented in the narrative structures of children''s stories. The novelty of the present study is that, first, it compares the network of relationships between all the main characters within a myth with the network of relationships between all the main characters within a children''s story; Second, for the first time in Iran, it examines narcissism and echoism in the context of fiction.

Non-verbal elements are the invisible conduit for transmitting the personal ideology of the translator and other translators idiots (art director, editor, publisher, etc.). Due to a large number of translations of Silverstein's "Giving Tree" from English to Persian, and the various readings of its commentators, this work has been chosen for the subject of translation of this article. The present research seeks to answer, how non-verbal elements (images, micro-patterns, pagination, typography, and font color) interact in the translated books of the mentioned work. . In the field of children's literature, the interaction of text and image has always been considered by theorists such as Scott and Nikolajeva. The innovation of the present study is that it generalizes their interactions from the level of text-image relationship to the level of non-verbal factors. The results show that the interaction of non-verbal elements is of five types: symmetric, complementary, expansive, counterpointing, and paradoxical. The cultural distance between the original language text and the translated text, as well as the prominent position of image, pagination, typography, etc. in the children's book publishing industry, necessitate performing the research. and in this regard, This research aims to answer three basic questions in the field of Persian translations of “The Giving Tree” (Silverstein, 2011): 1- How can the Nikolajeva-Scott (2019)  Fifth Interaction Pattern, in terms of classifying types of image-text interactions, be generalized to, a model for classifying the types of interactions of non-verbal elements? 2. What are the differences and similarities between the different translations of “The Giving Tree” (Silverstein, 2011) in terms of the interaction of non-verbal elements (image, pagination, typography, miniatures, and font color)? 3- In the various translations of above- mentioned book, what are the types of interactions of non-verbal elements? Mohsenianrad (2014), while quoting Bosmajian's definition, considers non-verbal communication channels to be very wide and expands its scope from facial expressions to fashion, from symbolic actions to dance, theater, pantomime, and music, from the influential currents of time to the flow of traffic, from brutal hegemony to clever diplomacy. In Iran, the articles that have been done on non-verbal communication, which have focused on the non-verbal communication of stories, have focused on the body language and the way the characters dress. Unlike studies conducted in Iran, which generally focus on the non-verbal element of body language, the subject of leading research is the axis of space (such as the proximity of pages in pagination, the proximity of images, and the like), and aesthetics (such as typography, miniatures, etc.).Research through descriptive-comparative analytical methods, it compares semantic changes that the translation process has imposed on these interactions, with the original language text. The data in this article are taken from the original language book of “The Giving Tree”, by Silverstein, and the nine Persian translations of the book. In this research, in terms of non-verbal elements (image, typography, pagination, and font), each of these translations is compared with each other, and also the non-verbal elements of the translations, with their corresponding non-verbal elements, are adapted in the original language version. In this regard, the research expands the fivefold division of Scott-Nikolajeva, from the level of text-image interaction to the level of interaction of other non-verbal structures. This study shows that non-verbal elements enclose the text, like a glass frame, without being seen themselves. Many of the non-verbal elements of the books being translated are modified according to the culture and sphere of the target language.  Thus, the non-verbal factors in the various translations of “The Giving Tree” (Silverstein, 2011) may not be semantically identical to the original language text; That is, texts can find new meaning through the interaction of non-verbal factors in line with the ideology of the translator, translation editor, and second publisher.  Non-verbal image factors, pagination, and typography can enter into semantic interaction in five ways: symmetric, complementary, expansive, counterpointing, and paradoxical.When two non-verbal elements represent the same information, their type of interaction is "symmetrical interaction." When two non-verbal elements fill in each other's gaps, their interaction is of a "complementary interaction" type. To understand complementary interaction, the audience usually does not need conscious attention and receives this interaction, automatically and unknowingly. When two non-verbal elements expand the meaning of each other (usually the expansion of this meaning requires the conscious reflection and careful attention of the audience), then their relationship will be of the "expansion interaction" type. In the "hybrid interaction" situation, the two non-verbal elements each have a different narrative, and from their interaction, a new meaning is created, and without each of them, the decoding of the message is not accomplished. The most severe incompatibility between the two non-verbal elements occurs in "contradictory interaction."