omid vahdanifar

Today we see storytellers and screenwriters using world myths. These works have imperceptibly drawn the minds of readers and viewers to ancient myths and symbols, and paying attention to these mysteries and mysteries can reveal the hidden intent of the owners of these works; Because the authors of these works sometimes deliberately use these symbols to hide their original meaning. In addition to this revelation in the series "Dark", the present study seeks to show the connection between Greek and Persian mythology in this series. "Dark" is a European series that has probably benefited greatly from Greek mythology In this article, we find out to what extent the beliefs expressed. in this series are from the beliefs of Iranian mythology, especially Zarwani beliefs, a religion that has been prevalent since the Achaemenid period and reached its peak during the Sassanid era, and then in the form of Mithraism. Inside, it originated and also how they were reflected during the scenes of this series.

One of the areas in folk culture is to analyze the common rituals among the ethnic groups, and their ways of doing so. Rituals are some of the cultural and social issues of a particular culture, the employment of which requires certain manners and styles, which are of significance in folk culture studies. Some rituals are vast among some ethnicities, in that they are performed in different occasions, the analysis of which show the culture and beliefs in that ethnicity. As some of the rituals related to rain pray are particular to the northern Khorasan ethnic groups (Turks, Tarts, Turkeman, and Kermanj), the current study aimed to identify the rain pray rituals and their performative manners related to each ethnic group as well as their aims through library study and interviews. The findings figured out the types of rain pray rituals among the focused ethnic groups, and their performances in the ritual which are almost similar among them, such as puppetry, singing rain pray songs in group, distributing strew or votive bread, sacrifice, and saying prayers. Some of these symbols in rain pray are rooted in religious beliefs and some others in mythological notions. The role of women and children is significant in the performances. Although the ritual of rain pray is different on the surface among the ethnic groups, in total, all follow the same aim. Moreover, the people who were performing such rituals believed in them by heart.

The most common art of the Kormanj nomads is the weaving of a type of carpet called "Kormanj table" which tells the story of the life or beliefs of that people. This art is specific to the Kermanj-speaking people of North Khorasan and is popular in the cities of Bojnord, Farouj, Mane and Samalghan, Shirvan and Esfrain. Although the Kurdish table has lost its main use today and is used as a floor covering or has a decorative aspect, its primary use in the past was to place bread. The present study was written in a library method with the aim of examining the symbols in the table cloth motifs of the Kormanj tribe of North Khorasan in order to keep alive the old motifs and symbols that are subject to being forgotten and obsolete. The findings of this research indicate that the motifs used in the Kurdish table of the mentioned people have a high semantic diversity and importance and include four geometric, plant, human and animal groups, of which animal motifs are the most used; Because it is influenced by the nomadic life of the Kormanj people. Among the human motifs, the figure of a girl is seen more often; Because the main weavers of the Kurdish table are women and girls. The tree motif is the most frequent plant motif due to its sanctity and being a sign of life and blessing. Abstract and geometric patterns also have a symbolic and decorative aspect.

The main issue of the present study is how narrative lying can be a platform for suspending action, preparing new action and changing the narrative course of the story to a discourse perspective. Lie with prosthetic function and with the ability to increase, expand and replace causes the change of the horizontal system of the narrative to the vertical system and from this perspective, turns the action plan into a transcendental one. In the story of "Rostam and Sohrab", the main path of the narrative takes the form of a planned action. But each time, the actors of the narrative challenge the action plan of the story in the form of a narrative lie, and by making a change in the main direction of the narrative, they provide the ground for entering the fraction. Discourse legitimization, discourse rupture, value collapse and replacement of new value, status quo, change of action, magnification and illusion Instrumentation is one of the functions of narrative lies. In the present article, how narrative lies work and its role in changing the action process to action is analyzed. The main purpose of this article is to explain the functions of narrative lies and to examine its role in how to accelerate narration and achieve a transcendental situation. The results of the study show that the strategy of narrative lying hinders the adaptability of a sign and marginalizes the main action, thus replacing it with a new sign and semantic condition.

The present study employs a phenomenological and gestural approach to explore the subject’s gesture and becoming in Rumi’s “Sonnet 1095.” To illustrate the process of gesture as a phenomenon, we define and explain its functions in the subject’s world, then echoing Hegelian phenomenology, we explore the subject’s inner world in accordance with the gestures and their representations. The purpose of the study is to explore the process by which the subject comes into being, identifies its gestures, and moves beyond them. This study presupposes that the subject can only be dynamic through a medium which is the gestic subject (the other). In this regard, it transcends from ignorance to self-awareness. This study concludes that ontology and transcendence are dynamic and require a transcendental becoming of the existing subject who moves through pre-event, event, and post-event states. These three states open new paths toward a better ontological understanding of the subject’s life.

The Wave Discourse is formed based on an event system and provides the basis for discourse proliferation. As a result, we encounter fluid, open, and leaping situations that expand the scope of the actor's presence and, as a result, create a presence for the actor that is no longer under his control. Discourse systems are divided into two general types: conservatism and risk-taking. Conservatism is based on adaptation, and risk-taking is based on an accident. The Wave Discourse is also the result of the risk-taking system, which leads to the formation of accidental and unexpected meanings by creating a rupture process. In the present study, the story of Bustan Saadi's ‘Safar-e Hindustan va Zalalat-e Botparastan’ is examined from the perspective of the Wave Discourse Theory. In this study, the type of interaction between the two systems of conservatism and risk-taking and the conditions of these two systems are analyzed. Examining the story under discussion shows that the narrator continuously puts the discourse space in a challenging situation in such a way that the systems of conservatism and risk-taking advance the narrative in parallel and in a competitive atmosphere. The actor also participates in this competitive space according to the symbolic position in which he is placed, and finally, with the act of murder, he creates an event space that causes the formation of risk-taking and the realization of the Wave Discourse.

The present research aims to study how the affordances of irony (structural irony) lead to the creation of the style of Grotesque (according to Philip Thomson’s theory) in Jean Teulé’s Eat Him If You Like [original title in French, Mangez-le Si Vous Voulez, translated into Persian as Adam-kharan]. Teulé manages to create moments that seem humorous to begin with, but turn into scenes of threat, horror, and torment. The main question is how such a situation arises and what role does irony play in the development of the style of the text. Accordingly, in the present research we have used a descriptive-analytical method to study excerpts from Eat Him if You Like to delineate the influence of structural irony on the creation of the style of Grotesque in this novel. For this purpose, first a general definition of irony and Grotesque is presented and then different types of irony and their functions which are conducive to the creation of the style of Grotesque in this novel are discussed. Findings of the research indicate that in this novel, different types of irony such as dramatic, situational, cosmic and tragic, create two-fold, reversed, unwanted and imposed situations as well as a bleak, disturbing and disgusting atmosphere, which lead to the development of Grotesque in the text.

Folk culture is a mysterious world, the analysis of which can open up different horizons. In the following study, focusing on cultural and common practice of people in the northern Khorasan, the ritual of Yovar was analyzed among Tat, Turk, Turkeman, and Kermanj people through interview with candidates concerning cultural issues of the area. Besides describing this ritual, the similarities and differences between the practice, function, and consequence of this exercise. The findings indicated that the Yovar ritual in the past was practiced similarly among groups of this region in terms of gathering the agricultural crops, housing, sheep’s ripping, weaving, among others. Some consequences of this practice is cooperation and solidarity among the people of this area, common understanding, and the expression of happiness and kindness.

Tura was one of the manifestations of the folk culture of the North Khorasan peoples, which has been forgotten today. This cultural effect was originally one of the satirical and critical theatrical rituals of the people of that region. The current research is qualitative and with the aim of describing Tura and understanding the causes of its decline, it is based on the paradigm of interpretivism, which has used description to understand Tura and the method of casual layer analysis (CLA) to discover the causes of its decline in recent years. The results of the research on the understanding of Tura based on the fourfold understanding of producer, audience, text and context show that Tura is a kind of comedy of manners and etiquette that was produced in the texture of the lower socio-economic class of society and had an audience in the same class. Due to having characteristics such as criticizing the rulers, making people happy and entertaining, improvising, transferring literary heritage, playing music and singing, they are closer to Gosans than gypsies and tricksters. The Tura text is a fluid text, dependent on place and time, which has witnessed changes in all four areas over the years. Also, the results of the research in understanding the reasons for the decline of Tura, the luxury of the ceremony and diversity in the ways of holding ceremonies (litany level), changing the contexts of Tura performance and changing the habitual nature and the changing taste of leisure (level of systematic causes), the tendency to create a class distinction between the audience and the performers of Tura and the influence of popular culture (level of worldview), globalization emphasizing the decline of traditional metanarratives or everything that is modern is far from tradition (The level of metaphors and myths) remembers.

The structure of sentences and the order of words are two representative factors of the syntactic style of an author which are highly useful in explaining his personal style. Understanding the personal style of each author can be very helpful for readers in understanding the themes of his/her texts, knowing the character of the author and identifying his/her personal characteristics. Ghaem Magham Farahani is one of the greatest writers of the Qajar period whose personal style distinguishes him from his contemporary writers.
 


Using the approach and theory of layer stylistics and the method of discourse analysis, the researchers have undertaken the study of syntactic level of the 45th letter in Ghaem Magham Farahani’s Monasha’at. They have attempted to identify the connection between meaning and the syntactic level in this text, and to explain to the readers what the syntactic factors are in this letter and how the syntactic structure of the text helps its theme.


One of the most famous literary figures in Qajar period is Ghaem Magham Farahani, the Grand Vizier to Mohammad Shah Qajar. Thanks to his talent, artistry, and dedication, Ghaem Magham managed to write about the issues of his time in his Monsha’at with the use of a colloquial language and a literary texture which is more often than not compared with Sa’di’s Gulistan, since like Sa’di’s masterpiece, it is full of Arabic words, anecdotes, and proverbs. When these factors are combined with folklore literature, the result is a pleasant, attractive and dynamic prose. In a word, “Ghaem Magham is the Sa’di of his time” (Shamisa, 2014: 282). In Ghaem Magham’s prose, one can distinguish three styles: simple, intermediate and complicated, which have been very common in the previous periods. The prose contains Quranic verses, religious fables and hadiths which are signs of prolixity in texts (Khatibi, 2007: 58). One can also find elements of conciseness in sentences and the avoidance of complexity which are manifestations of simple and straightforward style (Rastegar Fasaei, 2018: 243). However, the most frequent style used in his writings is the simple style which is a recreation of the ancient simple and straightforward prose (Rahimian, 2008: 12), since his texts are intended to be simple and devoid of complexities in style and meaning.
It is the aim of stylistics to study the characteristics of texts with the attention to different linguistic periods, and then analyze these characteristics in relation to the authors who have used them in their texts. Accordingly, by analyzing the works of a writer or a period, researchers of stylistics can reveal many aspects about the texts, such as the perspective of the author, the social condition of the period, the discourse of the age, the orientation of the writer, creativities or imitations in the style of the writer, the author’s ideology and the dominant ideology of the period. However, due to the high number of these stylistic characteristics in the texts, the researchers have divided them into 5 categories and study each category independently. These five levels are phonetic, lexical, syntactic, semantic and pragmatic levels. Each of these levels are again divided into several sublevels which eventually make up the meta-levels when combined with each other. Syntax is the study of the relationship between linguistic forms in sentences, structure, order, syntagmatic and paradigmatic levels. The analysis of the syntactic level makes the reader capable of discovering the relationship between the syntactic structure and the thematic structure of a text. Some of the issues discussed on this level are the structure of the sentences, the length of the sentences, the order of sentences, moods in adverbs, adjectives and verbs, the verb tenses, adjuncts, the use of Arabic words and expressions. The researchers have undertaken the analysis of these elements in letter number 45 of Monsha’at by Mirza Abol-Ghasem Farahani.
 


The structure of sentences and clauses and the order of words in any text are representatives of the grammatical and syntactic style of that text which eventually lead the reader or the researcher of the linguistic behaviors to identifying the personal style of the writer. The analysis of the items under study showed that there is a relationship between the syntactic principles and the themes of the text. In this research, we studied the length of the sentences and analyzed the relationship between sentences from different perspectives. The findings showed that short sentences are used more than long sentences in this letter, which means that Ghaem Magham has used them for accelerating the expression of his thoughts. Short sentences are proper vehicles for transferring the purpose of the writer to the audience; however, whenever necessary, the writer has used longer sentences to explain and describe more. Therefore, the high frequency of short and concise sentences with independent thoughts in each sentence is indicative of the preference of meaning over verbosity in the mind of the writer and, as mentioned before, accelerates the expression of meaning. From among the four types of links in the sentences of this letter, the two types of equivalent and intertwined are more frequent than the other two, dependent and independent links. The use of these links brings more coherence and stronger relationship between the parts of the text and their meaning. The study of moods in this letter led to identifying Ghaem Magham’s ideology and individual character. In this regard, the findings show that in verbs, the indicative mood are more frequently used than imperative and subjunctive moods. This delineates that the writer of the letter has intended to narrate the incidents and phenomena; therefore, it reveals Ghaem Magham’s certainty in his text. The study of the mood in adverbs show his close relationship with the incidents; while the study of the mood in adjectives show the writer’s tendency toward different factors and people which usually express his power and certainty.

Rewriting of the old literary works has considerably flourished in the recent decades. That many literary texts have been rewritten for different age groups of children and young adults testifies to the significance of these texts for these age groups. In rewriting, “after selecting the original old text and simplifying it, fictional spaces are created by establishing elements of time and place for events, and then, new structures are built for the stories by expanding the plot” (Najafi-Behzadi & Safari, 2015: 72).It is not easy for young adults to read the intricate tales of Mathnavi and understand the protean thoughts of Mowlana; therefore, writers of children and young adult literature undertake the task of rewriting the long stories of Mathnavi in the form of independent shorter stories to help readers find their way in the intricate tales (ibid, 72).Seyed Ishaq Shojaei has rewritten one of the tales of Mathnavi, “The King and the Maid”, with the new title “Love’s Alchemy” in his collection of stories, The Ladder of the Sun.

fluid state provides the basis for other actions not to be subject to a logical programmed flow, but to follow something unexpected and eventual. In this case, the discourse spaces continuously enter another space and through that space, they expand their circle of presence. In the present study, in a descriptive-analytical method, we try to re-examine how the systems of action interfere in the discourse and the process of destruction, procrastination, preparation, extension and development of action in the story of "Young Boxer" from the third chapter of Golestan i. In fact, the purpose of this study is to investigate the situation of challenge and tension in the narrative based on the type of interference of the spaces formed and the action systems involved in the narrative and to reach a narrative pattern based on this story. The result of this study shows that in the narrative system of this story, in the process of transition from an unbalanced state to an organized state, we see the formation of a new action that tries to interfere in the action of actors or shifting actions, a new perspective in Open the path of the main narrative. But this new perspective is destroyed each time by the intervention of other action factors, and then by preparing a new action, the action is renewed again.Finally, although the transition from one situation to a new action situation is hindered, the action process is still delayed so that the space for the formation

it is written text or closed text that transforms the reader into a consumer and the text is readable. It also explores the narrative functions, meanings and hidden meanings of the text. The method of this research is descriptive-analytical study with narrative approach. The research findings show that The text of Waiting for Godot is adaptable to Barth's theory of coding and follows the narrative analysis paradigm of Barthes: It is important that in some cases Barth's critical patterns of over-saturation or immobility be cast It challenges the text in an aesthetic context, which leads to a better understanding of the work on the creation of two half-crazy and half-philosophical characters. In the dialogues of this text, Beckett has been able to convey his religious and philosophical implications by making connections between the characters of the play with a great deal of contrast and using the style of the instrument. This play is a written text and has a multiplication of meaning that is reproduced by the reader.

In the present article, we used gesture in one of Rumi's narrative sonnets. In this discourse, Rumi portrays a subject who, by practicing and practicing in a gesture, becomes what he expected of that gesture. Rumi's subjects are formed through interaction with the gesture in the form of body and transcendence, and in a process based on the system of adaptation, they achieve a kind of co-presence with the gesture. But the main question is what is the mechanism of such a situation and based on which strategies and discourse functions it is realized. The main question of the research is under what conditions the gesture is produced and how it transforms the subject from a physical state to a transcendental state. Our hypothesis is that sensory-perceptual and sensory-intuitive pressure produce a gesture when it exceeds its limit. The subject transforms into a transcendent subject by repeating and internalizing his constructed gesture (transcendental gesture) Thus, the gesture with two-dimensional capability, on the one hand, frees the subject from other gestures, masks and images, and on the other hand, through the gesture itself, the subject is elevated from the physical-gestural space to the transcendent space and reaches an absolute presence.

In the present study, how the subject encounters the gesture and its effect on Rumi's poetry system can be explained. The aim is to show by the method of content analysis that the subject transcends with the help of gesture and again represents the experience through that gesture. Subject related research in works: In the Shadow of the Sun: Persian poetry and deconstruction in Rumi's poetry (Pournamdarian, 2009), "From Lacan to Rumi Lacan's view of the subject's mental development in Rumi's views" (Shiri Et al., 2012), "Existential-oriented sign-semantics: from interaction to transcendence based on the discourse of Rumi and the Chinese" (Shairi and Kanani, 2015) and "The other and its role in Rumi's discourse" (Kanani, 2019), in a way They have dealt with the confrontation of commands and subjects and others. Gesture research has also been conducted in non-literary Persian texts. Therefore, the interaction of the two categories of subject and gesture with each other and their role in how to form semantic occasions in Rumi's poetry has not been studied. Therefore, the present study has examined the effect of gesture on the subject in a lyric by Rumi from a new perspective.

In the course of Rumi's thought, it is obvious that we have descended into the material world; A world in which we have a language with form and gesture. Rumi believes that we have been thrown into this world from an eternal, meaningful and pre-linguistic world. We had a substance in that world and we were in unity and by stepping into the material world, we became multiplied and caught in the chains of language and gestures. In this world, we resort to language and body language and gestures to understand each other, but a surplus of that original meaning remains that cannot be represented in this way. For this reason, the subject in Rumi's sonnet has a desire for transcendence and the world. The subject begins a journey to achieve this goal. This journey begins with myself and me, then reaches the stage of unconsciousness, and finally leads to absolute presence. Therefore, in order to achieve transcendence, one must abandon the physical, verbal and gestures path and walk in an intuitive path, without gestures and stillness. But in this path, he must use the factors of this world, and in the first step, he must accept the gestures and achieve what he wants. But this way is possible only through gesture. In this way, the gesture enters to begin this transcendental journey and then to remove its other gestures. The subject is able to establish his identity in the symbolic world by giving in to the gesture that can create his identity. These gestures are sometimes psycho-intuitive and sometimes physical. n the body of the sonnet in question by Rumi (2013: 1 / sonnet 2219), when the subject intends to become a transcendental subject, this desire for transcendence enters the psyche of the subject as a force. As a result of this force, some of the subjects who still belong to this world insist on stagnation in the same state, and the opposite pole, which tends to transcend, tends towards dynamism. One part "existing subject" and the other part is "the gestural subject". The gestural subject in the role of mediator accompanies the existing subject in the path of transcendence in order to unite with the transcendental subject. As a result, and as soon as the two coincide, the gestural subject disappears, as there is no distance between the two subjects, and they are transformed into a transcendental subject.

In this article, based on the function of gesture, we examined the subject situations of Rumi's sonnets. In this study, it was shown that the value object is an intuitive subject. This inner intuition with sensory-perceptual and sensory-intuitive pressures led to the production of a transcendental subject gesture. Thus, in order to achieve the pre-linguistic world, which is transcendence, the subject first repeats the gesture of silence and extends this gesture throughout his body and mind. In this journey, the existential subject of an ethical system is at the service of its other branch, the gestural subject, in order to be free from gestures, but this liberation is possible only with the gesture itself. Thus, the origin of the whole process of presence is the initial gesture that the subject intended and then repeated, and step by step we witnessed the emergence and spread of the gesture throughout the body of the subject. This breadth shows the union of body and soul of the subject; So that there is no longer a disconnect between the subject and his constructed gesture, and this fusion leads to the transcendence of the subject.

In the present research, with a linguistic approach, we examine the conceptual metaphor of love in the story of Sheikh Sanān from the mystical book of Attār of Nishapur, Mantiq-ut-Tayr, taking into account the theory of George Lakoff and Mark Johnson. For this purpose, we have divided the story into three periods of sharia (law), tariqat (mystical way) and truth, and in order to understand the abstract concepts of love, we have analyzed all three periods by using analytical-comparative method. Also, based on the conceptual metaphor of love, some examples of the verses of the story have been examined. The findings of the research show that Attār has used various conceptual metaphors to represent love in the story of Sheikh Sanān. The micro-metaphors used in the surface structure of the story have a basic substructure called "mystical love" that gives them coherence. In terms of frequency, the macro-metaphors of the story are placed in three categories: ontological, orientational and structural metaphors. If we pay attention to the metaphors in the story, it becomes clear that the macro-metaphor "God is love" is the most central metaphor and all micro-metaphors have played a role in the evolution of this macro-metaphor.

Customs are one of the specific cultural and social issues of any society which have always played an important role in popular culture. The rituals of some communities are so extensive and comprehensive, and are held in various ceremonies and on different occasions. The rituals show the culture and beliefs of the people of each nation. Since some of the Sur rituals in the villages of Arkan and Kastan in North Khorasan Province are unique, carry symbols, and ultimately bring empathy and cooperation to the people of these two regions, this descriptive-analytical research tried to study these rituals with the aim of getting acquainted with the popular culture of these two regions, and the way they have held some Sur rituals in the past and preserved their customs. Field research was used to collect materials, making an effort to preserve and record the ancient rituals and traditions of the Turkish-speaking people of the region. The results of this study show that, from the past to the present with the modernization and progress of life in various fields, Sur rituals have undergone changes and even in some cases have been forgotten among the people of Arkan and Kastan. However, some ceremonies are still held enthusiastically among the people of these two regions, and their citizens strive to preserve and perpetuate these rituals.

The purpose of this article is to examine Iranian Culture in the travelogue Droville, a military adviser to FatAli Shāh. In the present study, the first reports of the French author are classified into three levels: "Positive Paradigms", "Negative Paradigms" and "Neutral Paradigms". Then below each class, has been analyzed the images presented on the basis of the components of homogeneity, contradiction, generalization, holism and magnification, which are the characteristics of the "imagology approach". Imagology, which is one of the approaches of comparative literature, has an interdisciplinary nature and is therefore linked to cultural studies. The application of this approach in reading travelogues is important in that it can be viewed in terms of "native" culture from the perspective of "other". So there are two main questions in this article: what aspects of Iranian Culture in the Qājār era have been the focus of a French military adviser? How are these cultural images reflected in the above travelogue? This study has been done with a descriptive-analytical method based on imagology approach in comparative literature. The findings of the study indicate that cultural elements were not reflected in the original form in this travelogue. In fact, these images are the transformed form of the author's early data, which has gone through the channel of different ideologies. The cultural imagology of Drouville is sometimes influenced by Western-European ideas and Intertextual relations and often derived from the class cultural geography of the Qājār era society that he interacted with them.Keywords: Imagology, Travelogue, Droville, Iranian Culture, Qājār eraImagology of Qājār era Iranian Culture in travelogue DrovilleThe purpose of this article is to examine Iranian Culture in the travelogue Droville, a military adviser to Fath-Ali Shāh. In the present study, the first reports of the French author are classified into three levels: "Positive Paradigms", "Negative Paradigms" and "Neutral Paradigms". Then below each class, has been analyzed the images presented on the basis of the components of homogeneity, contradiction, generalization, holism and magnification, which are the characteristics of the "imagology approach".

global archetypes and symbols is one of the categories that has attracted the attention of many researchers in various sciences today. Archetypes from the earliest periods of human life to the present day have had a strong presence in the human mind and soul and have led to the creation of similar myths in all cultures and lands. The short film "Father and Daughter" by Michael Dodok de Witt, narrates the life of a girl from childhood to old age with a psychological approach and depicts many archetypal categories during its scenes, which shows the deep familiarity of its creators. With Jungian psychoanalytic concepts and mythical drinking fountains. In this regard, we have tried to first examine the foundations of Jung's theory and his views on the types and concepts of archetypes and the theory of the collective unconscious, and then to explore the film as a platform for the emergence of archetypal symbols and signs. And examine these signs and critique the archetype of this film with an analytical psychology approach; Because the study of these concepts and signs in the narrative structure of the film and their combination with other theatrical elements has an important role in understanding

. The research method is descriptive-analytical based on the narrative structure of both works. The result of this research shows that this two narratives are identical in terms of the main event of the narration since both narrators describe the futility and absurdity of the efforts of their Heroes. By analyzing the narrative structure of these two works we find that there are no inconsistent, indefinite and additional events in Katibeh and its narrative begins with the introductionand ends to resolution. But the narrative of the Myth of Sisyphus, apart from the weakening factors of the plot, begins with the crisis. Accordingly, Katibeh has a more coherent plot compared to the Myth of Sisyphus. Also, the narrative point of view in the Myth of Sisyphus is in uniform manner and it has one narrative view while in Katibeh there are different views of narrative and this change is quite meaningful in the various verses of the poem.

Choosing the element in a work is directly related to the reader. This study aimed to investigate the themes of the tales of Sankhast from the suburban areas of northern Khorasan in order to figure out how tale tellers used the related theme to achieve their objectives. The findings showed that the tale tellers sometimes expressed the themes in their work and in other times represented them through moral lesson to not only have more impact on the reader but also improve the level of the folk tales from the normal clichés. In general, the method of selecting themes in the tales were discussed, but there were occasions in which the themes were prior to the tale. The themes in the Tati tales of Sankhast showed that most of them were selected based on the hearings, lifestyles, mentalities, and people's opinions. Also, despite the fact that these tales tried to create heroes, attraction, curiosity, and entertainment for the general public, but in fact their fundamental mentality and social aspects were advertising humanity, equality, brotherhood, and social justice.

Imagination in all religious, mythical and literary manifestations has the metaphysical power to create works against deterioration, death and fate. Buoki Maleki (d. 1339) is one of the poets in the field of adolescent poetry in the years following the Islamic Revolution of Iran, whose nature, symbolism, emotion and thought formed the spirit of his poems. Since the poem collection "Behind a Smile" has bipolar (positive and negative) imagery, the purpose of this study is to re-imagine the imaginary forms in the poem collection in accordance with Gilbert's theory using the method. Examine a library and find the answer to this question: Which imaginative system does the most imaginative form of this poem collection belong to? The overall result of the present study indicates that the highest inclination of civic thought in this collection is for the daily system of positively valued imagination, which shows that the poet has largely entered the adolescent world and distorted the image of death in his imagination. Instead he has created imaginative and hopeful images. In sum, the imagery in the collection of poems "Behind a Smile" is as follows: spectacular 36 (39.13%), exotic 23 (25%), dark 18 (19.56) Percentages, 7 (7.60%), 5 (43.43%), and 3 (26.2%) separation morphologies.

Possible worlds is an interdisciplinary subject that can be used as an effective cognitive model to make sense of long-distance fiction; Especially modern stories in which we see the disintegration and collapse of the narrative plot of the stories as well as the mental fragmentation of the fictional characters. To this end, the authors in the present study, using the method of content analysis in a library method, seek to answer the questions of how the types of worlds and the gateways to them are formed in the Malakout story and what functions they will have? The story of the Malakout, though seemingly chaotic, but the globalizations created by the various textual elements cause the chaos and nonsense seen in its superstructure to be abolished and greater coherence and entanglement achieved. It is noteworthy that such possible worlds are created by ourselves as an illustrator and producer narrator or an associative narrator who will have different perceptions of the text. In addition to what makes it possible for modern stories such as the Malakout to enter the possible worlds from the real world of the story, there are characters who have undergone a kind of mental and spiritual transformation and are given a wide range of time and space. In this way, they go beyond the dimension of time and space, which has a real plan, and encounter a kind of extra-temporal and trans-spatial space. It is as a result of such cases that the necessary preparation for entering other worlds is provided. By discovering possible worlds and gateways to the story of the Malakout, ambiguity becomes possible, and all of these seemingly fluid and separate worlds will reach a point of connection, that of becoming a kingdom.

 Some grammarians have called the grammatical researches that take place between two languages “Comparative Grammar”, and some others have called it “Contrastive Grammar”, in a way that comparative grammar is a comparison of grammatical roles between two languages with the same roots that are now among dead languages and contrastive grammar is a comparison of grammatical constructions among two living languages, whether they have the same root or not. Despite the differences in interpretations and naming, such studies will pave the way for translators of the target language in translation and correct reading of the source text in order to find equivalents and discover and suggest the best alternatives in the translation process from one language to another. The main purpose of this study is to investigate the role of the manner in the syntactic structure of Arabic texts and how they are translated into Persian. In the educational texts of translation, either the issue of translating different kinds of manner from Arabic to Persian is not raised or in some sources only a brief explanation is provided and singular manner and manner adverbial sentence are often suggested to be translated in the form of adverbs/ adverbial groups. This article by using the capabilities of Persian language and based on existing Persian translations of Arabic texts, especially classical and contemporary translated Qur'ans, semantic equivalents and new grammatical constructions in Persian gives suggestions for translating this syntactic role (manner) And thus, more linguistic arrangements are made available for translators.

   This study compares singular manner and nominal and verbal manner adverbial sentences in Arabic and their grammatical roles of Persian translation in a comparative and statistical method. For this purpose, the main sources are considered on which the main research findings are based, and those are the famous traditional and contemporary translated Qur'ans. The scope of the study of Qur'anic samples is from the beginning of Surah Al-Baqarah to the end of Surah Al-Furqan. At first, from the above-mentioned sources, 150 singular manner samples and manner adverbial sentence samples are selected and then they are matched with the existing Persian translations. Then, it is determined what grammatical roles the singular manner and the manner adverbial sentences of Arabic get when translating into Persian. Also, by presenting statistical results in the form of tables and graphs, their frequency of application is made clear. Due to the fact that singular manner and manner adverbial sentences have more application and frequency than manner adverbial clause in Arabic texts, in this research, only the first two types have been discussed. The basis of our study in terms of grammatical roles in Persian translations are: Vahidian Kamyar (2019): Persian grammar books (1), and Givi & Anvari (2019): Persian grammar (1), and naming are based on these books.

There are three types of manners in Arabic: singular manner, manner adverbial sentence (nominal/verbal), and clause (jar wa majrur [proposition and the word after that]). In the present study, a comparison is made between singular manner and manner adverbial sentence in Arabic and sematic equivalents and their equivalent grammatical constructions in Persian. Singular manner, in comparison with other constructions, is translated into Persian as an adverb. The example of this construct is worth paying attention to in the translation of the following verse: (obediently), (sneaky), (small), (obedient), (wandering), (immediately), (expressive), (unachievable), (blessed), (clean), (abandoned), (merciful) and … . Translation in the form of verbal complement or adverbial complement is the second most commonly used applied translation in which the presence of verbal complement of the sentence is obligatory and presence of the adverbial complement is optional and it can be omitted. But the number of adverbial complements is four times more than verbal complements. But some words that are singular manner and verbal complement that have been used in sentence cannot be omitted. The third most commonly used construct in translation of singular manner into Persian is sentence form. Sometimes in independent sentence form and mostly dependent sentences that when we explicate them, they can be placed in adjective position or adverb position. The fourth most commonly used construct in translation of singular manner into Persian is in predicate form; which means establishing a predicate relationship between the translated word with verbs like “ (is), (was), (become), (became)” and their derivatives.  Another type of translation of singular manner is verb form. In eight cases of the studies samples, singular manner is translated into object form. The other types of manner are nominal and verbal sentences that in Persian are translated as dependent sentences. In the studied samples, except for seven cases which have been translated into Persian as independent sentences, the translation of other cases are in dependent sentence form; That is, out of a total of one hundred and fifty (150) manner adverbial sentences (nominal / verbal), one hundred and forty-three cases have been translated as dependent sentences and only seven cases have been translated into Persian as independent sentences. The number of nominal sentences is more than verbal sentences. A noteworthy point in translation of the manner of a sentence into Persian is that manner in Arabic texts, whether in the form of a nominal sentence or in the form of verbal sentence, is translated into Persian as a dependent sentence, rather than independent sentences. Since manner adverbial sentence is part of a larger semantic unit and in fact, it expresses agent in Arabic, therefore, if translation of the manner adverbial sentence is a part of the sentence (that means translation in the form of dependent sentence in Persian), it will be closer to the source language and matches the Persian sentence structure; consequently the reader makes a closer connection between Arabic sentence and its Persian translation and can be understood better. In addition, just as in the translation of the singular manner into Persian, in which the ratio of their translation as adverb was higher than other roles, manner adverbial sentences have been translated into Persian mostly as adverbial group rather than other rules.

Statistical-analytical analysis shows that singular manner and manner adverbial sentence, contrary to what is stated in the existing sources on translation and comparative studies of Persian grammar and Arabic syntax, are not translated only in adverb form in Persian; It can also be translated into other roles, but their translation as an adverb / adverbial group is both semantically more clear and more widely used by translators. From the selected samples of manner (singular and adverbial sentence) in Arabic texts and their Persian translations, it was determined that singular manner is translated into Persian in the form of adverb, adverbial complement, sentence, predicate, verb complement, verb, object And noun in the genitive case, among which translation into adverb of manner or adverbs with no signsàadverbial group common with adjective has a higher frequency in comparison with other types, also semantically adverb is a more appropriate equivalent for the singular manner in translation into Persian, because it expresses the modality of the subject or object when doing something or accepting a state. Among different types of sentence, whether the nominal sentence or verbal sentence, are translated into Persian as a dependent sentence, which is itself part of a larger semantic unit (compound sentence). Considering the status and role of the manner adverbial sentence in Arabic texts, its translation as a dependent sentence is better than other types of sentence (core sentence / independent sentence); As they have been translated in most of the analyzed samples, in the form of Persian-related sentences.

Each of the forms of Persian poetry has special stylistic and structural features that knowing these features makes a better understanding of those formats. Ouhad al-Din Anwari Abivardi is one of the great Persian poets in the sixth century AH, whose poetry collection has been composed in various forms of ode, lyric, piece and quatrain. Anwari's style in her poems, especially in her quatrains, is the intermediary between Khorasani and Iraqi styles. Since each form of poetry plays a special contractual role in the literature, the quatrain is one of the original forms of Persian language that has been used in various themes such as: transient life, love themes, philosophical topics, educational teachings. Research on quatrains suggests that most quatrains are enduring that structurally have three constructs: description, recommendation, and analysis, and conceptually, philosophical concepts, seizing opportunities, educational, and love themes. In this research, the structure and theme of 100 quatrains of Anwari quatrains have been studied by descriptive-analytical method and based on library sources. The findings of this study show that in the structure of Anvari quatrains, three models of description, recommendation and analysis have been properly observed. From the thematic point of view, philosophical concepts, tail swings, and valuable educational themes have been used, all of which have strengthened the poet's quatrains.

Lullabies are one of the most important and valuable branches of popular culture in any ethnic group. The theme of lullabies is the reflection of thoughts, beliefs, spiritual reflections, social and political concerns, emotions, prayers and individual and social aspirations that can affect the geographical, cultural, social, and political conditions of a society. Because lullabies are not specific to a particular culture or country, they can have a lot in common, which may be in terms of rhythm, theme, concepts, as well as religious topos, natural, social, geographical, and political motifs and themes. In this descriptive-analytical study, 40 written Sabzevari lullabies have been collected by the library method to be examined. While identifying the method of the motif formation in them, the most commonly used motifs are presented in order to introduce the native lullabies of Sabzevar and to understand the reflection of religious ideas, social conditions and personal concerns of mothers of that time. After examining the various motifs in these lullabies, we were able to divide them into four categories: religious motifs, nature, places and relatives. Among the motifs used, the motif "flower" (the name of different types of flowers) with 26 items and the motif "Baba" with 16 items had the highest frequency. The results of this study show that the speakers of these lullabies have used a variety of motifs to enrich the theme of their lullabies because their poets have based the existing images and themes on various motifs, most of which form a network of images, their intellectual and emotional themes. Without analyzing them, recognizing the main peculiarities of the concepts in these lullabies could not be understood.