behrooz mahmoodi-bakhtiari

This paper offers an interdisciplinary analysis of Tony Kushner’s play, A Bright Room Called Day, through the lens of Gilles Deleuze’s interpretation of Immanuel Kant’s philosophy. This study investigates how postmodern poetics are shaped by Kant’s first principle –“the time is out of joint”– and his fourth principle – “the disorder of all senses” –. Together, these concepts generate what can be termed The Drama of Disordered Relationships, a framework that reveals the complexities of human interactions in the context of political turmoil. The analysis focuses on two primary dimensions within Kushner’s work. First, it examines the characters’ attempt to establish a common ground or “Cardo” that is subjugated to the ideals of communism. However, this endeavor is ultimately portrayed as doomed to failure due to the unhinged nature of time, which disrupts any possibility of a cohesive narrative or shared understanding among the characters. Second, the paper explores how this disjointed temporal framework and the resulting disorder of the senses disturb the artistic and literary relationships among events in the play. This disruption challenges the organic unity typically found in classical drama, emphasizing a departure from traditional narrative structures and highlighting the fragmented experience of reality. As a result, the interplay between unhinged time and chaotic relationships complicates or in other words, makes representation of art impossible within Kushner’s work. The findings suggest that the principles derived from Kantian philosophy not only illuminate the thematic concerns of A Bright Room Called Day but also reflect broader anxieties regarding meaning, coherence, and artistic representation in contemporary literature. This study contributes to understanding how philosophical frameworks can inform literary analysis, particularly in works that grapple with complex socio-political themes and the challenges posed by modernity.

One of the various measures used in speech audiometry is the speech recognition threshold. The aim of this study is to construct psychometrically equivalent lists containing Azari two-syllable words to evaluate speech reception threshold in Azari-speaking adults.

This study is a cross-sectional comparative study of test construction. Common two-syllable words were collected from Azari books. Words with features of ease, familiarity, and relatedness as well as phonetic balance and phonetic dissimilarity were included in 5 lists of 10 words. The lists were evaluated for psychometric evaluations and validity and reliability on young Azari population at 5 intensity levels from –5 to 15 dB HL. After two to four weeks, people were tested again under the same conditions.

All 5 lists showed favorable face, content validity index and content validity ratio. The average speech thresholds obtained were 9.62, 9.77, 9.57, 9.67 and 9.57, respectively. Cronbach’s alpha coefficient and halving were obtained above 0.8 in all 5 lists. Test-retest reliability was also significant (p<0.001).

The review and analysis performed on the data show that all 5 lists have psychometric homogeneity and alignment and show a high degree of validity and reliability; which makes them suitable for evaluating speech reception threshold in hearing centers of Azari regions.

This research studies The Stormy Trek of Farman Son of Farman Through Darkness by Bahram Beyzaie, and Aramsayeshgah by Bahman Forsi to examine the undecidability between sanity and insanity in a mental asylum setting. The study reveals a lack of a precise border between the two, with the sane becoming insane and the insane becoming sane. The mental asylum setting acts as a threshold space, functioning as a border between sanity and insanity. The primary tool for mixing this binary opposition is the use of aporia as a rhetorical device which is related to the subjective views of the characters. Each character sees events from their own perspective, and there is no clear indicator to measure the truth of their statements. By challenging the traditional understanding of binary oppositions, specifically the sanity/insanity duality, this research suggests a new way of approaching these concepts. The aporia of sanity/insanity, utilizing space and subjective view, questions the perfect model of sanity and insanity, encouraging the audience to adopt an attitude without the need for definitive decisions. It is not about taking a stance between the two, but rather acknowledging that subjective views can influence truth, and the absence of a clear model creates meaning with a delay. Drawing on post-structuralist ideas, this research aligns with Jacques Derrida's challenge to binary oppositions in Deconstruction. It highlights the overlap and lack of complete conflict between the two sides of the opposition, as concepts can include their opposite points. This perspective in drama creates a new attitude towards concepts that traditionally have precise boundaries or are preferentially treated. In conclusion, the findings emphasize how the atmosphere of the mental asylum, coupled with the use of subjective view, contributes to the formation of the aporia of sanity and insanity in these plays. The lack of clarity in the border between reason and madness directs attention to the shared space between them, offering the audience an alternative way of perceiving the world. In general, the use of aporia in plays set in a mental asylum has a thematic significance which spreads the aporetic theme throughout the plays and makes them aporetic and self-deconstructive. Furthermore, the thematic use of aporia can be applied to drama using different binary oppositions. This means that the deconstruction of different aporias can act as the theme of drama and make it self-deconstructive.

Semiotics refers to the conditions of receiving and producing meaning in narrative discursive regimes. In the field of narrative, we can mention Greimas and Landowski, two researchers of the Paris School, who have classified various types of narrative and its discourses into four categories: Action, Interaction, Accommodation, and Fusion. “Time” is one of the elements of narrative which plays an important role in the semantic chains of the narrative systems. It appears in the action systems on the basis of physical and temporal conventions, and in the modern narrative systems, it appears as sensible/stative times, such as ecstasy, circular, etc. In this article, by examining the framework of semiotics on the subject of narrative discourse and its various types, and also relying on each of the narrative models and their associated times, we answer the following questions: How do the dominant systems in a literary-dramatic work change, and how do these transformations of discourse systems lead to changes in the types of time in the narrative. According to the Discursive semiotic approach, the main issue is how the narrative systems and their times are able to change and enter the domains of each other. The main purpose of this article is to investigate the various types of narrative systems in the Semio-Semantics discourse and their transfer to each other, and consequently, the types of times that have a narrative function in these regimes. To achieve this goal, the focus is on the narrative in the play Afrā by Bahram Beyzai.

For the Word Recognition Score (WRS) test, homogenous lists of words with similar difficulty levels are needed. This study aimed to develop and validate Turkish-Azeri monosyllabic words with phonetic balance and psychometric homogeneity for the WRS test in young adult Turkish-Azeri speakers in Iran and to compile four 25-item word lists.

In this cross-sectional/comparative study, four lists of 25 monosyllabic words with phonetic balance were created by extracting common words from Turkish-Azeri dialects and assessing them in terms of ease of use, familiarity, and relevance. Then, the lists were tested on 40 young adult Azari speakers aged 18–25 years to determine the validity and reliability.

All four lists showed adequate face and content validity. Cronbach’s alpha and split-half values for all four lists were above 0.9, indicating acceptable internal consistency and reliability. Construct validity was confirmed the factor analysis with one-dimensional variance of 77.9%, 80.0%, 79.9%, and 88% for the word lists 1 to 4, respectively, and reported the single-factor solution of the index in all four lists. Also, test-retest reliability with a two-week interval with Pearson correlation coefficients of the lists were 0.94, 0.97, 0.97, and 0.96, respectively.

The four developed Turkish-Azeri word lists have phonetic balance and psychometric homogeneity with a high level of validity and reliability, which makes them suitable for evaluating the recognition of monosyllabic words by young adults in hearing centers of Azeri cities in Iran.

Narratology is a field of study that focuses on the examination and analysis of the structure and components of narrative. Gérard Genette is widely recognized as one of the most influential theorists in this subject due to his structural investigation of the element of time. He assigns three levels to narrative discourse: voice, tense, and mode. Genette studied the differences between story time and narrative time. Hence, in order to gain an understanding of the structure of time in the narrative, Genette analyzes the three elements of order, duration, and frequency. This allows for the specification of different types of flashback and flashforward narratives, anachrony, and types of time accelerations that result in different rhythms in the dramatic narrative. Dramatists have been studying the narrative structure since Aristotle's Poetics, and they can use the examination of its elements as a practical benchmark. Theorists who specialize in narrative and dramatic works, like Fludernik, Rimmon-Kenan, and Chatman have developed Genette’s ideas on fictional and dramatic narration. The comparative of one of the narrative elements, such as time, in the texts of two Persian-language playwrights makes the classical pattern of drama and its use in Iranian plays, as well as its comparison with the traditional and narrating pattern of this play, to be researched. The present research uses analytical-descriptive method of written sources and books to compare the structure of time in the dramatic narratives of two prominent Iranian dramatists, Bahram Beizai and Akbar Radi, with a look at the plays Afra and Khanomche va Mahtabi. This research attempts to explain how, in contrast to one another, Beizai and Radi brought the temporal structure of the narrative into the field of writing, and how they used it dramatically. The purpose of this research is to study the narrative time in the dramatic texts of two Iranian dramatists from structural aspects, relying on Gérard Genette's opinions. The findings of this article emphasize how flashbacks and anachrony have had a substantial impact on the play’s narrative flow and temporal structure. Additionally, temporal duration and frequency have also been involved. This anachronism has caused both texts to find a format close to the Iranian dramatic tradition in terms of the connection between the events and other narrative elements such as characters, theme, plot, etc., which is more significant in Afra in terms of the narrative style. However, the dramatic and conversational elements of Khanomche va Mahtabi are more closely associated with the temporal fractures in the narrative structure. Through the use of dramatic devices like sound or the removal of dialogue, as well as story techniques like the use of a narrator and narrating the past story in the present tense, both authors have attempted to employ other modes of narrative time. The timeline diagram of events in both plays includes discrete forward lines with flashbacks occurring during time breaks, as well as the direct course of those dialogues that review the present time.

Mir-e Nowruzi is one of the ancient carnival performances of Iran, which has either disappeared, or rarely occurs today. Unfortunately, not enough literature has been written in order to preserve the importance of this ancient drama as it deserves. In Iranian historiography, there are few and limited documents that reliably report how Mir-e Nowruzi performance was held. On the other hand, after studying the sources and researches in line with the topic of the research, the authors found out that none of the previous researches have been done on the subject of “performative” aspects of Mir-e Nowruzi festival. Despite all the valuable efforts of writers and researchers of Iranian dramas, including Bahram Baizaei, Sadegh Ashourpour, Farideh Shirzhian, Dawood Fathali Beigi and others, unfortunately, this type of drama has not been sufficiently addressed in Iran, and with the passage of time, the danger of Iranian shows being forgotten and faded is felt more than ever. This will lead to the separation of the contemporary Iranians with their rich and authentic culture. Therefore, research in this field seems to be vital for researchers in the field of culture and art of Iran. Throughout the history of Iran, many poets, including Hafez, have written verses about Mir-e Nowruzi's play, but none of these poems and references have dealt with describing the event and its details, and it seems that these references are only symbolic exploitations of the poets.

Adaptation is one of the common methods in creating artistic, literary and dramatic works for children and teenagers. One of the rich sources for adaptation in Persian is archaic non-fiction texts. Knowing the methods of adaptation and analyzing adapted plays based on these methods can be helpful in comprehending the dramatic art and the narrative functions of adapted plays. For adapting a play from these texts, one must know the adaptive methods. This research has been conducted with the analytical-descriptive method and considering the definitions of adaptation and its types and also considering the characteristics of the media from the point of view of Linda Hutcheon. By applying theoretical perspectives in the analysis of the three plays by Shokrekhoda Goudarzi including "ḴᵛĀJA NEẒĀM-AL-MOLK", "ḴᵛĀJA NAṢIR-AL-DIN" and "Sohravardī ", we came to the conclusion that Gouderzi has deployed various artistic methods and devices such as the application of different types of adaptation, implementing a dramatic plot and structure in non-fiction texts, changing the content, the language, the tone and the topics, and creation of various rhythms in language and scenes, removing and adding new and imaginary characters to the play, the use of folkloric literature poems and ballads. Each of these methods and devices in the narration of the play have aesthetic and artistic functions and make the play attractive. The authors of this article believe that in all these three adapted plays three adaptive modes are simultaneously involved: telling, showing and interactive modes, and alternately use all three modes to narrate the play.

 Despite its very limited release, the movie "Chess of the Wind" has garnered the attention of a significant number of critics. The director of this film, Mohammed Reza Aslani, who is one of the directors of the new wave of Iranian cinema, aimed to create an atmosphere reminiscent of Iranian society in the 1970s. He has mentioned that his film is not only inspired by the paintings of Georges De la Tour, a 17th-century French painter but also is an adaptation of the painting "The Derivation" by Mahmoud Khān Malek al-Sho‘arā, also known as "Sharif," who was a painter and poet of the Qajar period. Two versions of this painting, which could have marked the beginning of the modern period of painting in Iran, are available in watercolor and oil. They were created several years apart. If the viewer of the movie "Chess of the Wind" is aware of the impact of the "The Derivation" panel on this film, they can understand the resemblance by considering the similarities in light, color, shadow, mise-en-scène, storytelling, drama in the panel, and even the arrangement of objects in a particular frame. According to the director of the film, the similarities between the film and the tableau, the bright and intense shadows in this panel, and the sitting position of the characters in it evoke a conspiratorial atmosphere which is similar to the plot of the film “Chess of the Wind”.

Research Problem:

 Nevertheless, the proof of the effect of the painting on the film should be studied from a scientific point of view. In this article, an attempt has been made to use Gerard Genette's theory of Intertextuality by analyzing "The Derivation" painting and comparing it with a scene from the film “Chess of the Wind”, to show in what ways the film is similar to the painting and this work of art and to what extent was it able to create another work?

 When painters came to the cinema, they inevitably brought different ideas and methods to the cinema compared to other filmmakers. The plot and the height of excitement were not among their preoccupations. “Painters look at film as visual art" (Barno, 2014, 125). They checked the details of each frame; they had an artistic look for every arrangement, color, and lighting, and the film was not only a medium for telling stories. This movement, which occurs over time, is the result of well-balanced and coherent editing of visual forms. "If we take the element of motion and the residual factor of the image from the cinema, each frame of its image can be examined and analyzed with a visual look and painting and photography approaches" (Abdul Hosseini, 2007, 70). The term "painterly" refers to films with images resembling paintings, while "photographic" describes films with images closely related to photography. If we accept that "the most important effect of painting in cinema should be found in mise-en-scène. After watching the movie, we may not remember the cuts or the camera movements, the blur, or the sound outside the image, but we will remember the mise-en-scène elements. We have not forgotten about the wasted clothes. Most of the lasting memories of the cinema are related to the mise-en-scène element" (Bordwell, 1998, 157). If we consider this, it seems likely that the audience may not recall much about the story or narrative of the film after a few years, but they will remember the images. This is because images have a powerful impact on our emotions. It is the same effect that paintings have on their viewers. It is for this reason that filmmakers such as Godard and Pasolini have been employed in the work of cinematographers, who attach more importance to mise-en-scène and the visual aspect than the screenplay. Despite this, “In some cases, the tableau is integrated into the story and even becomes an important element of it, but in a distinguishing and hidden way” (Bonitzer , 2019,28). "Sometimes the audience does not notice the presence or trace of a painting in the film, but still, the work of art borrowed from it has its effect, or we see a plan corresponding to it in the film, and sometimes the only atmosphere that dominates the film is inspired by a painting" (Piraish Moghadam, 2019, 5). So, the impact cinema has on painting can be examined from different perspectives and addressed; however, in this article, the main goal is to investigate the influence of The Derivation painting on the film Chess of the Wind, concerning the plan that directly refers to the tableau.

In the present paper, Murad’s memoir, The Last Girl, is scrutinized through the lens of Resistance Literature theories. First introduced by Kanafani (1966) and adapted by scholars such as Harlow (1987) and Sangari (1389 [2010 A. D.]), Resistance Literature has come to constitute pieces of writing that are written during or after a conflict by people experiencing life under the oppressive power. For Harlow and Sangari, what is of utmost importance is the accounts of war experience pictured by civilians from all walks of life. With the Syrian war with the ISIS escalating in 2011 and its consequent overflow into Iraq, the extremist terrorists brought the war to the doorsteps of ordinary people, massacring men and leaving women to deal with the aftermath. The Last Girl is Nadia Murad’s retelling of life under the ISIS as a Yazidi-Iraqi woman. At first glance, Murad pictures a sad, yet vivid image of the Yazidi genocide by the ISIS. However, in a deeper analysis of the text, one finds how being ripped apart from family, utterly displaced, terrorized and raped can also shape a rather stronger, resistant person. By applying Harlow and Sangari’s theories of Resistance to Murad’s memoir, what is manifested is the way in which being appointed to various kinds of terror in war-time can create a more resistant self in someone.

The eight-year war with Iraq has received much attention by cinema media activists, and they have depicted the themes of sacred defense in their works, both during the war and now after many years since that event, and it is attempted to represent and protect this epic of people. Making various works in the field of war genre bears witness to this claim. Some audiences imagine themselves as the main characters while watching the film. The audience gets immersed in the film and sometimes empathizes with the hero of the film and likes to build and advance the narrative of the film based on its own beliefs and desires. This viewer behavior between his real self and his favorite self, which is performed by the hero or the main character of the film, has created a special interactive relationship, and self-image. Replacing the viewer "himself" with "another" who is the hero of the film has existed in different periods of cinema style and various theorists have written about this topic, but it has been less studied and investigated in the field of sacred defense films. The researcher examines the situation and position of the audience in the filmic atmosphere of the sacred defense cinema. Thus, the main problem of the study is to analyze the function and role of the sacred cinema in creating an interactive relationship and replacing the audience's self-image with the other image and the main actors in the film space. The research method is qualitative based on the hermeneutic phenomenology method and based on collecting data from library sources, audio and video archives as well as unstructured interviews and purposeful sampling. The findings of the research show that the cinema of sacred defense has had various ups and downs due to economic, social conditions, extreme or negligent personal decisions of some managers, but because its subject is being inspired by the society and imagines a part of the national history of the people, its works have survived and have attracted audiences of different age groups, even those who have not experienced the war. Different generations of the sacred defense cinema have perceived the communication messages that are sometimes far from the goal that the filmmaker has referred and acknowledged, and sometimes it has been consistent with it, and the main cause is the conscious self-image of the audience. Sacred defense cinema has its effects on the perception of the audience and provides a fluid space for him to search for his beliefs and desires. Being affected by various contexts and circumstances, the audience sometimes watches it in order to escape and forget the problems and imagine their hopes and dreams in the course of the film, and sometimes they are affected by the event of the film and make their true selves based on it. This behavior creates a two-way and interactive relationship. The result indicates that the audience's self-perception is affected by identification, empathy, self-reflection, identification, self-awareness, immersion, agency, and otherness, which has been performed by various expressive methods in the historical periods of Iran's sacred defense films.

Enclitic Compound Verbs in Persian are among the controversial issues in Persian linguistics and grammar, and the common research done on the topic seems to be limited to the inflectional structure of these verbs. Up to now, no research with pedagogical and educational implications has been carried out on these verbs. Therefore, a pedagogical study on this category of verbs can be an effective measure in facilitating Persian language teaching. The present article examines four sources of Persian language teaching textbooks, by Ahmad Saffar Moghadam, Yadollah Samrah, Mehdi Zarghamian, and Fatemeh Jafari's Persian Grammar, in terms of their methods of introducing such compound verbs. The article aims to find out whether special attention has been paid to them in the educational resources of the Persian language, and if so, in which category they have been located. The investigation revealed that these verbs educationally have been considered and discussed separately from other verbs in Persian textbooks. In this regard, the quantitative and qualitative descriptions of the number and variety of these verbs in the mentioned books are presented.

The specificity of cinema in the classical era was the subject of various fields of knowledge and thinkers of formalism and realism, such as Montsberg, Arnheim, Lukacs, Stam, Krakouer, Carroll, Bazen, Burch and Wollen, and different opinions in this field can be identified. Moreover, contemporary cinema has been influenced by digitalism, and has changed a lot in terms of technology and thought, and differs in many ways from the special cinema of the classical period. The current research has examined the changes in the methods of expression of cinema in the digital age with a fundamental aim. The main issue of the research is to analyse the impact of digitalism on cinema and to reveal the process that has led to the specialty of cinema taking a leap in the current era. This research method is qualitative and data-based. In order to achieve a basic theory based on the targeted selection of 50 books and 50 academic articles from national and international databases, works of experimental cinema and 22 films from the years 2000 to 2022 from American narrative cinema, which have received the most Oscar awards, reviewed and evaluated. The result shows that the aspects of self-image/self-image, synthesis/becoming, domestic/domestic approach, reconstruction or re-creation, reality constructionism, interaction and empathic action are central to Moore's particular attention to cinema in the digital age.

The agency of literature is one of the keywords of New Historicism. New historicists believe that literature is not simply a product of history; it actively makes history. History, power discourses, marginalized parts of society, and the mutual relationship between literature and culture are central concerns in new historicism. Both Ferdowsi and Shakespeare, although from two diverse cultures and six centuries apart from each other, their works share similar characteristics seen from a historical and literary perspective. Ferdowsi was contemporary with the Sāmānids age of reviving the Persian language and culture after a long period of repression. Shakespeare also lived during the Renaissance age of change in beliefs, views, and worldviews. In addition, challenging the dominant discourses of power and cultural clichés, they created new outlooks towards women in their respective culture. Women who were so far voiceless and marginalized during the times, now get an active presence in their works. The passive, silent Persian woman, kept marginalized for centuries, has an active role and presence in the Shahnameh. Silent and obedient women considered sinful during Shakespeare’s era, have a voice and dynamic presence in his plays. This study tries to depict women’s dynamic personalities both in their contemporary societies and selected literary works. By examining the dominant discourses regarding women, reading their contemporary texts, and analyzing the role of women in their literary works, it is found that both writers in the selected works had different viewpoints towards women compared to the dominant discourses of their time.

This study examined the discourses of two dramatic texts written by Naghmeh Samini according to the hegemony of the time of production and consumption of the text. The plays Sheklak and Khab dar Fenjan-e Khali were published in between 2004 and 2008. The selected texts were used over the same time as the fundamentalist government governed. In this research, the plays were not studied as mere artistic texts, but as a linguistic elements that include different discourses. Using Fairclough's critical discourse analysis, the social practice of dramatic texts were investigated. Using his three-stage model, i.e., analyzing the text, finding the discourse practice, and finding the social practice, the texts were analyzed. The results showed that the ruling discourse of that time had an impact on the formation of texts, and at the same time, the discourses used by the author in the plays are based on the author’s gender and some other characteristics. The discourse is far from the articulation of the hegemonic discourse of the time. Although the author tries to distance himself from hegemony by using linguistic tools, yet the extent of this distance and how ideology and power are reflected in the texts can be examined.

Cross word puzzles have gained special status among the amusements (linguistics, pictorial, logical, numerical, game ones) for being a universal and local amusement at the simultaneously. They are universal because there cannot be found any daily newspapers without them. As for their local character, they are designed and framed based on the specific characteristics of the native/ local languages and cultural patterns within which they are framed. The question of the present paper is what is the dominant pattern of lexical definition in these puzzles which guides us to the semantics of Persian cross word puzzles? The corpus of this study has been formed by gathering data from of Persian cross word puzzles used in Iran newspaper during one month. Structural lexical semantics approach has been used here to classify definitional categories. As for the results, they show that some factors like homography play important roles in the design of such puzzles, besides definitions based on socio-cultural and cognitive encyclopedic knowledge, collocations, onomatopoeias, colloquials, parts of idioms or proverbs, and nursery/ child-like wordings which are used there. Innovative ways of defining words like using language jokes or writing games have been spotted. These specific features show stylistic differences in designing cross word puzzles and lexical definitions of dictionaries. The findings of such a research is a step to the clarification of patterns through which general and specific cross word puzzles are designed. The present paper has some implications for the teaching of Persian using cross word puzzles.

The science of narratology was developed under the leadership of structuralists and its purpose is to identify things that are common to all narratives and only narratives. The word "narrative" was first proposed by Tzvetan Todorov and in the past decades it has become an important topic of discussion in almost all fields from fine arts and natural and social sciences to the study of communication and media. Coffeehouse painting is one of the most important folk arts in Iran, which flourished with the birth of the constitutional movement and the awakening of public opinion. One of the most important features of the coffee house painting is its narrative, which makes it a suitable example for narratology. On the other hand, shabihname, as a performing art of folklore, often has a relatively complex narrative form. Investigating how this complexity also makes Shabihname a suitable option for narratological investigation. According to what has been said, in the first step of this research, Genet's narratology was investigated as the main framework of the research, after that, coffee house painting and shabihname (both Iranian religious-ritual arts) were briefly introduced. In the end, the narration of Muslim children's story in two arts, coffee house painting and Shabihname, with the aim of evaluating how and the extent of influence and influence on each other, based on Genet's narratology, was compared. This research is descriptive-analytical and it uses document-library sources and reliable internet databases

Cinema started with short films, but the early short films did not have a specific goal or approach, but were an experimental process. This kind of filmmaking was initially constrained by the many equipment, production and distribution, the ignorance and non-recognition of the grammar of cinema and the main elements of film, including the script and the director, which were in the experimental and experimental phase. But gradually, with the development of the language of this artistic medium and the addition of sound to the image, views on short film changed. Little by little, the short film gained a special impact and realized that, as an art in its own right, it should use different approaches to attract the audience's attention. Nowadays, this type of film is no longer used to fill the breaks of feature films or productions dealing with financial poverty and lack of audience attention, and it has a special place and countless viewers in production and broadcasting. Today's short film has passed its transitional phase and knowledge, technical and technological inability play a lesser role in its productions. The short film occupies a unique position in most media such as cinema, television, virtual space and online, for several reasons: It condenses the narrative, avoids common stereotypes and breaks with repetitive formats, creates excitement and appeal, and is independent. It should be noted that film production in Iran started less than a decade late and almost as much as in many advanced countries. The experience of making short films emerged first at the court of the Qajar kings and then in the time of Reza Shah and his son, with approaches from the fields of leisure, propaganda, culture, experimentation and education, and gradually took on a public and state aspect. This process has continued after the Islamic revolution, which includes a large amount of film productions before and after the revolution in Iran. Filmmakers such as Forough Farrokhzad, Nasser Taqvai, Ebrahim Golestan, Masoud Kimiayi, etc. are examples of this trend of filmmaking. Today, the short film is out of the amateur format and has a professional nature, which is made with different educational, promotional, artistic and political approaches and with a specific purpose to attract the audience. Research in the field of short film can play a strategic role in raising awareness among filmmakers, critics and audiences, but despite the large number of short film productions in Iran, there is little research in this field. The current research has been done with a practical purpose and relying on the existing shortcomings in the field of analyzing the role of short films in Iran and determining the extent of its resonance with the audience. The result shows that the short film in Iran has two types of dedicated audiences with an artistic approach who follow the works in festivals and general audiences with different political, religious and advertising approaches. For the general audience, the type of media, be it television, network or cinema, does not make much difference.

Creative play is a way to teach and learn based on the universal tendency to play that is found in all humans. One of the appropriate art tools in education is the art of drama. Drama therapy or creative drama is a type of art therapy that has achieved positive results in educational centers and can be used in the educational activities of mentally retarded children. Drama is one of the pillars of the game and due to its various aspects, it can transform many of the students' abilities from ability to action. The present research aims to investigate the effect of creative drama on the recovery and development of creative skills and attitudes of disabled children. The design of the current research is of the type of pre-test and post-test with a control group, which is considered to be applied research from the point of view of the goal. The statistical population includes 180 mentally retarded male and female students of the 5th and 6th grades, of whom 30 people (15 people as control group and 15 people as experimental group) were selected non-randomly from available sampling. The data obtained from the research were analyzed using the method of multivariate covariance and one-way covariance analysis. The findings showed that creative presentation has an effect on perceptual skills in teaching mentally retarded children and exceptional students in schools. Creative presentation has an effect on the ability to learn in teaching mentally retarded children and exceptional students in schools. Creative presentation has an effect on problem solving ability in teaching mentally retarded children and exceptional students in schools. Creative play has an effect on the development of language in teaching mentally retarded children and exceptional students in schools, and therefore knowing the effects of creative play helps solve the educational problems of mentally retarded children so that stronger steps can be taken in improving their situation. Therefore, considering the positive effects of dramatic teaching methods (creative performances) in improving the development of creative skills and attitudes of mentally retarded children, it is useful to include this subject in the educational curriculum.

The question of the recent article is which of the approved vocabulary of the first Iranian academy have been chosen and mentioned in the text of Farhang-e Nezām and why ? The quantitative methodology used mainly by frequency effects of the approved vocabulary of the first Iranian academy listed in Farhang-e Nezām has been applied to data. Findings, show the approved lexical items which has been used and mentioned in Farhang-e Nezām are to be included in some special semantic fields (namely administrative, economic, educational/cultural, forensic ones). The theoretical framework is that of historical sociolinguistics . The process of the lexical items being chosen by the lexicographer can be encompassed by extra-linguistic factors like factors mentioned above. It shows how it is the case that some lexical items are chosen due to socio-political status of the society.

In the post-World War I era in Europe, returning soldiers and their relatives experienced loss, mourning and melancholia. In this regard, Sigmund Freud, in his effort to introduce the new science of psychoanalysis, magnifies the question of melancholia with the article “Mourning and Melancholia”. He attempts to clarify symptoms and influences of loss in people who have a traumatic experience of loss in many ways, such as war, death of siblings or parents and even failure in their romantic relationships. Afterwards, Jacques Lacan created innovations and drew an explicit distinction between ego and subject. On the other hand, Julia Kristeva addressed new dimensions of melancholia with a special perusing of both and demonstrated her point of view about the relationship between melancholia and the semiotic, the symbolic, the chora, the abjection, and the differences between objectal and the narcissistic depression. Correspondingly, Samuel Beckett's plays “All That Fall” and its characters Mrs and Mr Rooney, and “Endgame” with Hamm, Clov, Nagg and Nell, contain the problem of loss and its consequences on two distinct levels, respectively with a journey from objectivity to subjectivity, from the person to the world or from the ego to the way it looks at the world. Both plays are written in 1957 and have a common content about loss, depression and melancholia. This essay seeks to introduce the play “All That Fall” through the study of melancholia as a prelude to the Endgame’s atmosphere and to prove that the commonalities of the two justify not only their simultaneous reading but also two different versions of melancholia. Beckett conducts the themes of death, deterioration, and the absurdity at the center of his creative works during which they lead us from the loss to melancholia. In this respect, segmental and delirious language, loss of pity and self-confidence, obliteration of desire, desire to stay in the chora, and hesitation before any action are the implications of melancholia. The analysis of Mrs Rooney requires Freud and his profound insight in order to reveal her pretext of doing nothing and the reason why she shows no respect to others. Clov does not show any proficiency in his actions; accordingly, all characters can represent one of the aspects of melancholia.

The Narratology of Drama has been one of the challenging topics of study in preceding years. Theorists like Brian Richardson and Ansgar Nunning, by publishing multiple books and papers about narratology of drama, attempted to detach the narratology from the restrictions of fiction. Along with Richardson and Nunning, Monika Fludernik used structural narrative concepts to establish an approach that highlights narrative possibilities in playscripts. Fludernik’s propositions, her analysis of dialogues and exploring the roles of different narrators in plays, has been a huge step towards narratology of drama. Researchers in this article will study and analyze Majles-e Ghorbani-e Senemmar by employing Fludernik’s approach in order to explain the narrative structure of this play and to illustrate the practical functions of Fludernik’s approc. Majles-e Ghorbani-e Senemmar is one of those plays with a narrator as a personage narrating the story for the audience. Types of narrators, presentational models of narrating, types of character introductions, use of metonymy, setting, time\space, and finally different types of representation of speech, are characteristics that Fludernik emphasizes on as categories of narrativity. These elements can be traced and explored in the aforementioned play by Bahram Beyzaei. Fludernik’s approach helps us to discover fresh aspects of Beyzaei’s oeuvre that have been overlooked since now.

Commonly, facing the works of art within a historical theme, we either expect the work to match exactly with history, or expect to see some kind of artist's point of view from that historical period. The former cannot be recreated or represented in the world of art. The latter, however, does not have the same application. Therefore, with sufficient knowledge of the author and the discourse conditions and power relations during his life period, his perspective on history in a historical work can be analyzed better. In this article, through a comparative and historical method, two plays Death of Yazdgerd written by Bahram Beyzai and Romulus the Great written by Friedrich Dürrenmatt were examined from the perspective of new historicism to show how two playwrights were affected by history in two different places and times, and consequently influenced the history of their time. This comparative research shows that choosing a specific period of history to write a play was purposeful. Also, writing about a historical period is affected by the period of the playwright's life and culture, and the reason for the difference in the power relations and the ending of the texts lies within the same context.

This Article is a study of the musical tools of Ta’ziyeh and how it employs the Dastgāh and Āvāz of the Iranian traditional music, which is considered an Iranian- Shi’ite artform. What opens Ta’ziyeh for more examination today in Iran and even worldwide is its intrinsic dependence to musical elements as well as utilization of the two entangled components of poetry and drama. Moreover, Ta’ziyeh’s involvement with mythology and with matters of faith has turned it into an interdisciplinary artform and a drama with a musical-ceremonial theme. The different analyses done in this article show that this musical phenomenon is a structuralist formation where the choice of Dastgāhs, Āvāzs, and melodic circles, and in all sections i.e., Pishkhāni (overture), Noheh (elegy), monologues, dialogues, and instrumental sections, is contingent upon the specific contents and needs of each Ta’ziyeh. For this reason, to better understand how Ta’ziyeh works and how the musical elements of Ta’ziyeh are picked it is necessary to study Ta’ziyeh from a musical point of view. Therefore, the current study uses the existing Ta’ziyeh texts and performances to take an analytical and interpretational approach to understanding the ways the choice of music and the contents of the drama are connected, and meanwhile introduces the properties and the variables of Ta’ziyeh. The results of this study include important points, such as: Choosing a main Dastgāh or Āvāz as the performer of the musical atmosphere, specific to each Ta’ziyeh; Commencement and conclusion of the Ta’ziyeh is presented in a specific Dastgāh or Āvāz, suitable to each Ta’ziyeh and the landscape of its story; The melodic design, choice of Dastgāh, Āvāz, and Goosheh (piece of Radif), in different kinds of Ta’ziyeh’s monologues such as Monājāt (fervent prayer, often chanted), Khatāb and Farmān (addressing and commanding), speaking to self (Monologue), Rajaz-Khāni (recital of epic verses in defiance of enemy), and characters’ speech, are all done according to the capacities of each part, dramatic events, and contents of the drama; The casual use of excess syllables, like the extended, redundant “O” vowels, extra “keh”s (meaning which, or that), etc in order to achieve harmony between the melody and the poems; all of the above are counted towards the results of this study.

This study aims to find a meaningful connection between the occupation of characters and their social status in the plays of Akbar Radi in the 1980s in the context of the events leading up to the 1979 revolution in Iran. The characters of these plays live in turbulent condition that changes their occupation and social status. The establishment of new institutions, the expansion of new jobs, and the consequent disappearance of some traditional jobs led to widespread social changes. Some productive jobs in the agricultural sector were lost due to the migration of villagers to the cities, and new job opportunities were created in the manufacturing industry. These structural changes play a pivotal role in the emergence of dramatic crises in these texts. This study proves that these events are a determining factor in the way of life and destiny of the characters in these plays. In the current study, by analyzing the occupations of the characters during the mentioned events and the changes that occurred for them, the impact of the events on the social identity and destiny of the characters has been evaluated. It also reveals that the character’s quest to gain a job in these texts is to achieve social status and prestige rather than to amass wealth.