javad dehghanian

Since its establishment in the 1960s, the Children’s Book Council(CBC) has endeavored to elevate Iranian children’s literature by setting criteria for evaluating and selecting the best works. Given the significance of literary awards and distinguished books in shaping readers’ minds and guiding the literary community, this paper examines the criteria set forth by this institution and the extent to which they align with the award-winning works of the 1970s. This analysis critically evaluates the Council’s performance during this influential decade and revisits a pivotal period in the history of children’s and young adult literature, as well as the history of Persian poetry criticism. During this decade, three works by Mahmoud Kiyanoush—The Green Indian Parrot, Silver-Winged Golden Beak, and The Garden of Stars—were selected by the Council. The selection of three works by Kiyanoush indicates that the Council, both theoretically and in its practical application of production and creation criteria, was influenced by this poet’s ideas. Based on the Council’s reviews and the findings of this research, the criteria for poetry criticism underwent significant changes in this decade compared to the previous one. A reliance on artistic originality and poetic essence, as well as a focus on a child’s perspective, were the most important criteria during this period. This approach to children’s poetry played a crucial role in the transformations of subsequent decades.

The purpose of this study is to investigate the conceptual metaphors of anger in Dashti dialect. The theoretical foundations of this study are based on the approach proposed by Lakoff and Johnson (1980) about the conceptual structure of metaphors and Kovecse's (2005) regarding the role of cultural patterns in metaphorical conceptualization. This study uses the method suggested by Stefanovich (2006) under the title of metaphorical pattern analysis. For this purpose, language expressions that convey the concept of anger were provided and analyzed through interviews with 45 speakers (40 years old and older) of Dashti region and also by observing the linguistic behaviors of the speakers of this region. The data of this study, in addition to showing common and universal source domains, clearly reveal the influence of factors that arise from the climatic and cultural experiences of the speakers of this region.

The concept of war and its related interpretations is a significant aspect of the lyrical genre of romantic poetry. The concept of cuteness and showmanship in romantic relationships is explained using war-related forms and elements. This research investigates the function of love and war conceptual fields in Fayez Dashti’s couplets. This study utilizes qualitative and quantitative analysis to examine Fayez Dashti's couplets through the theoretical framework of conceptual metaphor, as established by Lakoff and Johnson (1980). The study findings, presented as desk research, demonstrate that out of 494 couplets by Fayez Dashti (1988), 131 couplets include at least one essential aspect of the war field. This abundance, which is obtained from the expansion of 79 clear cases of war relations, in support of the indices of inter-domains and metaphorical consequences related to the field of war, as well as the details that sometimes arise from the cultural-climatic conditions, is the theme of a significant part’s couplets. The result from this perception clarifies that the symbolic interpretation of these songs within the context of "Love is War" necessitates a continuous examination of the input fields and the metaphorical outcomes associated with the central metaphor.

The main question of this paper is to explain the role of the literary institution in the context of power relations and in particular the arrival of Iranian society into the era of Pahlavi rule. In the meantime, based on Ernest Cassirer's comments, the late literary works of the Qajar period until the first Pahlavi era was evaluated. Contrary to the prevailing approaches to text as abstract, neutral, inactive, and merely reflective of a subject or matter, Cassirer believes that texts as a system of signs are, above all, a set of practices that have the capacity to be the position of agency. On this basis, he believes that the mental construction of the new world is still influenced by myths that are produced and reproduced in various ways and with specific purposes. The results obtained and described by these works show that literature in this period, by creating a particular kind of myths and then expanding and diffusing the mythical insights into heroism and nationalist discourse, provided the basis for the emergence of the First Pahlavi rule.

In the republishing of the Adventures of Hajji Baba of Ispahan, Jamalzadeh made changes so that the language, expression, tone and writing style of Mirza Habib Isfahani were altered. His changes in the “fragments of old phrases” and “morphology and syntax of sentences” aroused the reaction of the literary community of that time. While Jamalzadeh retained the main framework of the book, his method does not correspond to any of the technical terms for critical correction of texts. In order to understand the whys and wherefores of his method for republishing the book, the present study compared and analyzed three works: Mirza Habib Isfahani’s manuscript, Phillott’s edition, and Jamalzadeh’s reprint. Twenty percent of the volume of the book was selected for analysis: the author’s preface and fifteen chapters (five chapters from the beginning, middle and end of the work). The results indicate that the changes can be subsumed under three categories: 1. reduction through deletion or replacement; 2. expansion and finding equivalents; 3. transposition of parts of speech. The largest volume of changes in the text were created by expansions and finding equivalents for words, phrases and sentences and transpositions of parts of speech while deletions and replacements were used the least. These changes serve two main purposes 1. strengthening the fictional elements of the book and 2. bringing the story closer to the understanding of the common people based on the capabilities of the popular language, in the continuation of the simple writing movement of the Qajar era. However, Jamalzadeh inflicted irreparable blows on the prose rhetoric of Mirza Habib’s translation.

Following the acquaintance of Iranians with modernity and the emergence of discourse of innovation andmodernization among the intellectual-political elites of the Iranian society in the era of constitutionalism,literature also stepped into the field of political-social developments and served to modernize the society;in such a way that modernization became the most important issue of literature in this period of time andliterary texts played an important role in the acceptance of modernity in Iran via glorifying modernity andmodern ideas as well as attacking on tradition and traditional ideas. From the point of view of thesociology of literature, this article tries to investigate how modernism is reflected in some of the fictiontexts of the constitutionalism era and to answer to these two important questions that which aspects ofmodernity have more attracted the Iranian intellectuals and on the other hand, what factors have beenfollowed by the oppositions of some parts of the country against the introduction of modern institutionsand ideas to Iran. The results of the current research show that from the viewpoint of the authors of thatera, parliament and constitutionalism, technology, modern women, new schools, law, freedom, modernarmy and equality are respectively the most important and necessary aspects of modernity for the Iraniansociety and on the other hand, factors such as economy, religious thoughts in Iran, Iranians’ fatalism and,tyranny, have been the most important obstacles to the entry of modernity into Iran.Keywords: Constitutionalism, tradition, modernity, literature

Regarding the novelty of the research, the importance of this branch of anthropology and its strategies in understanding the social investigates people, and since Mutran lived a reality plagued by the control of the Ottoman rulers, and this reality greatly affected the people's roles and social behaviors. This research consequently deals with the effects of social anthropology based on the method of qualitative content analysis. One of the results of this study is that the behavior of individuals is formed as a result of social socialization in which the society’s culture or political system is formed headed by an authoritarian king. Relations between individuals have a great relationship with authoritarian rule and this domination with the pyramidal structure has a significant role in various behaviors among individuals and leads to the domination of the policy of coercion by the ruler (the king) and submission of the people. The minister's daughter appears, which leads to the minister and his daughter‘s not accepting the truth. However this matter did not result in a change in the ruling on the contrary, it reveals its stability, as the authority of the ruler is as long as the authority that controls the people.

Without bringing the reasons Borzooyeh chose a series of stories among Indian literature that formed the base of the work which was later expanded by other writers and eventually it became Kelile & Demne. On the contrary to the common belief there’s no book named Kelile & Demne in Indian literature and the selection of the stories, title selection, quality of compilation and how the stories were connected and interwoven, is actually done by Borzooyeh.So based on what criteria did Borzooyeh choose the stories and why did he choose such title for his book?It seems that the author’s selection weren’t by coincidence and the stories were chosen for specific purposes. Borzooyeh’s social level had played a key role in these selections. Discovering the standards for selecting the stories and understanding the reasons for choosing a title not only drastically changes the reading of the text, but also shows some other complicated issues pertaining to their interaction with the creation of the literary work and with the elite

If we admit that culture is a kind of text, we must inevitably accept that “The History of Jahāngushā” is a text that is the point of contact of different ideologies, each of which forms a part of Iranian identity and culture. Contrary to formalist approaches, an attempt has been made here to revisit the text based on those approaches of literary criticism that read the text in a dialectical and interactive connection with the material contexts of its production. Therefore, first, the ideologies in the text are introduced and analyzed, and after determining their role in shaping the ideological system of the History of Jahāngushā, their discourse contradictions are revealed, and finally, the impact of these ideologies on the text is discussed. Various factors such as historical context, social, cultural, and ideological institutions have been influential in the composition of this text and its linguistic form. It seems that more than the linguistic and expressive complexities, it is the discoursal, ideological, and cultural contradictions that have caused confusion and complexity of the text. Analyzing and retrieving the ideological currents of the text not only explains the reasons for its different readings but also helps the reader to reach a new and different judgment of the literary, historical, and cultural aspects of the text.

Election and introducing the best poems for children as well as forming the identity of children’s poem is very effective in aesthetic understanding and bilinear orientation of poet and his addresses. Pay enough attention to language - as the main element of poetry and its feathers - leads to accurate comprehension of children poem. Because the language is the most tangible and significant element of children’s poem. CBC from the beginning has tried to avoid the arbitrary criteria in electing the best works. In return, its attempt has laid to define standards that are close to formalism. Here we analyze these criterion based on the elected works in one hand and how it can be normalized with the main principles of formalism. The results show that among these three elected works: Fery flies in the sky, by Abbas Yemini Sharif, pigeon tale, by Mahmoud Moshrefi Azad and flowers come,bring spring , by Manoocher Neyestani, these two recent works not only are more adapted to formalism principles but also in the same way CBC promoted its criterion. Although CBC’S standards are not free from weakness and technical imperfections but it is plausible regarding to its novelty and pedagogical approach.

The Iranian Constitutional Revolution (Persian: Mashrūtiyyat), 1906-1911, culminated in the foundation of the first Iranian parliament. During and before this era, Iranians became acquainted with modern medicine. The high recurrence of the topic of medication in Constitutionalist’ humor gives occasion to feel qualms about the claim that the issue was simply due to its attractiveness instead of broader socio-political aims and objectives. Given that the Constitutionalist satirists used humor as a tool to criticize tradition, as well as to promote and defend modernity and its principles, it seems that they had a socio-political motive to use the theme of medication. Thus, they attempted to make the inefficiencies of tradition clear by contrasting it with medical discourse as a tangible and practical aspect of the life of people belonging to different classes. Their objective was to imply the superiority of modernity and to portray it as inescapable in the modern world.

Nowadays ideology is the most important concept in human life that has overtly and covertly penetrated into all aspects of life. Embedded ideologies have the greatest impact on people's subconscious. Childhood, as an important part of human life, is surrounded by a variety of ideologies. Nowadays, the media, and especially animation, have become a powerful tool in transmitting ideology to children. Their high power in attracting the audience has made this medium a suitable platform for the transmission of ideology. Here the monsters Inc animation has been studied due to its tremendous sales and popularity. In this research, by means of content analysis, various and invisible aspects of ideology in this animation have been studied. The ideologies used in this animation are very diverse and wide and are discussed from different aspects such as: the ideology of the popularity of monsters, the ideology in the construction of characters, the political ideology in the content, the emotional and psychological ideology, and the ideology of human philosophical nature have been discussed. The results show that each of these cases are integrated with the text by specific techniques and affect the individual subconscious. The value criteria of the present study are in confirmation of the ideologies that have been used in the text of the animation, but no adaptation has been made to any particular society or culture, and has been expressed only as a descriptive study.

Romances and stories, and in particular children’s literature, have the significant potential to be utilized toward both education and treating some of the behavioral and personality disorders of children as well as to enhance some of their abilities. Children’s literature, especially the selected stories of this article, has a significant role in providing the basic needs of the child. This article examines fictional books, based on the idea of aroused need for recreation in William Glaser’s choice theory, to study how the characters of the stories act at the time of the arousal of this need. It also studies the type of effect their actions have on their fates. In fact, children’s stories, in addition to being a vehicle for their recreation and a reward for learning, can employ child psychology and an appropriate characterization to enhance their ability to make life choices.

The core theme of Showhar-e Ahou Khanom is the woman and her place in a society in transition. At first look, it seems that this novel intends to rehabilitate the lost place of Iranian women and vindicate their violated rights by the Masculism discourses. The critics believe that this novel in its turn is a kind of Requiem for Iranian women and the first attempt of Iranian feminist movement in Persian literature. Adopting a post structuralist reading and A to intra textual evidences, it is possible to decipher ideology and hidden signification which underlies the text. Thus, based on this approach, this novel is highly influenced by masculism discourse. The ideal woman of the story is a marginalized character without any social and dynamic feature. She is in fact an explicit image of the house wife or the subject of the spouse. Dominant masculism discourse of this novel supports this passive woman who obeys totally any rule of this atmosphere. Another character of the story is a woman being considered as a serious threat to the secure world under the control of masculism discourse as she wants to move from traditional and already dictated roles and demands the minimal social and civil freedom. She loses her place in favor of the traditional character /woman of the story and at last she has an excluded personality in the cycle of story. The dominant ideology of this novel as the architect of social order could never abide the aggression and violation of modernist currents and suppresses the aggressor (the second woman) and demonstrates her fragile place as lame, seductive, and an anti –social element by demoting her as an antagonist.

One of the most important Turkish tribe in Iran is Qashqai. This tribe has had its own culture, literature and language. It seems that in the process of modernization and Homogenization in Iran, this culture especially its literature is vanishing. Then, it is necessary to do some researches to protect it from being destroyed. Qashqai tribe has rich oral literature and culture whose stories are a part of it. Since up to now, no study with structural approach has been performed on these stories; we have examined ten stories as case study. The Methodology of the study is based on morphological model of Vladimir Propp, Russian formalist researcher. For this purpose, at first, all stories are analyzed and then each story’s model is mentioned with combination of their motions. This study shows that Qashqai tribe’s stories has the ability of structural study and to great extent is compatible with Iranian stories.

The Thousand and One Days is an eastern literary work, which is a collection of fairy tales based on the model of “One Thousand and One Nights”. This book was translated for the first time from Farsi to French language by Petis de la Croix in the year 1710 AD. Throughout the rule of Qajarid King, Mozafar Ed-Din Shah, two translators, namely Mohammad Hassan Mirza Kamal Ed-Doulah and Mohammad Karim Khan Qajar translated this book from French into Farsi language. Given the legendary nature of The Thousand and One Days, this collection of fairy tales can be considered among narrations, on which Todorov’s narrative theory can be tested. Todorov studies these tales from a number of aspects, including the narrative dimension. The narrative aspects focus on the tales’ characters, uncovering the inner relations of characters of these tales, thereby identifying the fundamental factors that contribute to formation of the tale and its trend. The narrative aspects presented by Todorov can be analyzed in two indicative and non-indicative groups. The non-indicative mood is divided into two desirable and assumptive classifications, with the desirable sub-group in turn separated into essentials and requests, and the assumptive sub-group divided into conditional, and forseightful branches. This article initially introduces The Thousand and One Days, while later discussing Todorov’s theories, especially the narrative aspects considered by him. Ultimately, he focuses on, and studies The Thousand and One Days based on the form and function of narrative aspects. In this research, it was found out that the majority of narrative terms of this book maintain an indicative mood. The more limited function of the conditional mood leads to absoluteness, governing the relations among characters of this work.

Fereydon Moshiri and Nizar Qabani are great names incontemporary Persian and Arabic lyric poetry. “Love”, being the oldest, yetmost complicated theme of lyric literature, has a genuine outlook in their poetry. Nizar Qabani- the poet of “women and wine”- blends the traditional and modern view toward women and “love” and portrays a new picture of “the beloved”, a picture that ultimately intends to purify the masculine view of Arab society toward women. His language is so delicate and simple that the society communicates with it so well in many different ways.Although “women and mistresses” are not as significant and outstanding as in Nizar Qabani, the blend of traditional and modern view is well evident in Moshiri’s poetry. On the one hand,Moshiri abides by the current traditional lyric poetry; accordingly, “the beloved” in his poetry is still a cliché and naming “her” is considered as a taboo; on the other hand,women's personality to him is promotedbeyond the boundaries of the “body”. The simple and impossible language of Moshiri is another similarity ofhis poetry and that of Nizar Qabani. This study attempts to study the theme oflove in the works of these two contemporary lyric poets and to compare the characteristics of love and beloved in their works.

Mabadi Al-Arabiah is a work which was compiled by Rashid Shartoni in four volumes about Arabic grammar from elementary to advance level. A great number of translations and treaties، include translation of Husseini’s، show the significance of this work in learning Arabic grammar. The writers of this article try to note some of scientific mistakes that have bad effect on learning. These mistakes provoke the writers to revise some of the most important of them. Then this article can result in to be published a revised text and help student to draw them off from terrible mistakes which decrease their speed during reading. The mistakes are categorized to three parts: scientific mistakes، misprinted mistakes and grammatical mistakes. The first category contains the grammatical roles and mistake of Arabic signs. Mistakes like mistranslation، misprinting، dislocation، and translocation and so on. The last category related to nimiety in translation and explanation، debility and infirmity، displacement of examples in translation and pretermissions. The high frequency of these mistakes makes it inevitable that the work should be revised.

Mehdi Akhavan sales and Iliya Abu Madi are great poets in contemporary Persian and Arabic literature who paid attention to socio-political issues in their verses. In spite of living about thirty years apart from each other, they have had similarities in the themes of their poems because of their similar socio-political situation and their existence in critical eras of the Lebanon and Iran political history. Abu Madi is the poet of independence period of Lebanon, political changes, civil and foriegn wars after that. Akhavan more than all other poets was affected by political evolution of 30s and 40s, especially of the 19 Aug coup (28 of Mordad). More than Abou Madi, Akhavan returned from romanticism and turned to social symbolism. The other common point that makes their poems outstanding is their favor to the change from tradition and modernism. So if their poems are analyzed, the main obstacles in the process of switching to modernism and its sequences will be distinguished. Here by concentrating on the two elements of their verses, i.e. mirth and sadness, not only the style of their verses would be studied but also the main causes of their trend to mirth and sadness would be clarified. This matter i.e. how they confronted with sociopolitical issues and how much they were optimistic or pessimistic toward these change reflects the inclination, and culture of people of their eras. This article analyzed their different reactions toward social issues as well as pondering the matters that caused the similarities of their views.

This paper tries to review the most important story of Kalileh and Demneh i.e. lion and cow in order to achieve a new reading from the anecdote based on symbols of inner text. With this perspective, in the process of review and analysis, audience encounters to this basic question as: whether this text can be trusted and that can be read and accepted based on the desire of the author?” The trend that was prevalent in literary researches so far has emphasized exactly in the author’s reading. Author believes that there is abundance of symbols/signs in this story that make the audience unfaithful towards the text. This story has four main characters whose share in the advancement of the story is not the same. Most fictional dialogue and interaction occur between lion and Kalileh and Demneh. Shenzbeh plays the role les than others and is almost a passive character. It seems that a different interpretation of text can be achieved through a careful insight on the dialogues between the characters and their actions. In this new reading, new and diverse images emerge from the characters and utmost from the narrative. This could be a model from cardiac function and various instances in traditional system as well as help review other texts.

In Azerbaijani style due to strong language and motifs, Khaghanie’s poem is outstanding. Although there are some difficulty in understanding his verses, but using lingual devices like alliteration, creating new compound, virtual language, coining new words, attention to internal and external music and side rhythm, make his poem melodious. High frequency of alligory and finding new motifs are what make his poem close to Indian style. Of course there are some elements like educated language and epic tone that make his poetry different from Indian ones. Khaghani also has powerful imaginery and benefit from folklores and current belifes of his age in order to endow best effect to his poem. In this article we try to show the aesthetic aspects of his verses and also distinguish the poetic devices he has practiced and clarify how these devices can help reader to understand the beauty of his verses.