جستجوی مقالات مرتبط با کلیدواژه « ادبیات داستانی » در نشریات گروه « ادبیات و زبان ها »

Journey has always occupied a unique position in world literature. The current paper investigates the concept of journey in children and adult’s narrative literature. Samad Behrangi’s “the Little Black Fish” concerns the challenges faced by the main character while passing through different stages of the mystical journey. The present paper aims at investigating the comparability of the stages of the Little Black Fish’s journey with that of the birds in Resalat Al-Toyur by Ahmad Ghazali. In the two works, the stages are not distinctively named. In Attar’s Mantegh Al-Tair, as an adaptation of Ghazali’s work, the seven stages of the mystical journey includes: quest, love, wisdom, independence, monotheism, amazement, indigence, and death. This framework is employed in comparing the aforementioned stages. The findings revealed that the stages are remarkably similar to each other. The major reason for the existence of such an incredible similarity was originated in the fact that they belong to mystical literature and cover the same theme of “Mystical Journey”. Last but not least, the similarity may also have its origins in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.
The Notion of “journey” has been always given a unique position among the other multiple interesting concepts in the world literature. The current study is an investigation of this concept (Journey) in both children and adult’s narrative literature. Fiction or narrative literature has played an important role in showing the impact of “journey” on religious, cultural, and social changes.
“Journey” has appeared in children’s literature, both in the form of physical and spiritual journeys. The story of The Little Black Fish is one of the few works that deals with the topic of spiritual journey in a pleasant and delicate way. This story comprises a lot of symbols that, if explained and decoded, reveal the deep layers of the story to the reader. In adult narrative literature, there are also works in the field of travelogues and spiritual journeys, the latter of which is referred to as a “mystical journey”. In the classical literature of Iran, a large quantity of outstanding works on “mystical journey” exist. Attar is one of the most prominent literary figures of Iranian-Islamic mysticism and his “Mantegh Al-Tair” is a masterpiece in Persian literature. This book is considered as an adaptation from Ahmad Ghazali's “Resalat Al-Toyur”. In the present paper, the primary focus is on the stages of journey in “Resalat Al-Toyur”.
The research questions are as follows:1) Is the journey of the “Little Black Fish” comparable to that of the birds?
2) Which of the stages on the journey of birds is comparable with the stages of the journey of the black fish? How can we analyze the journey of the black fish in the context of the journey of the birds?
3) What factors can influence the comparability of a work in contemporary children’s literature with a work in classic adult literature?
The story of The Little Black Fish is written by the famous Iranian writer, Samad Behrangi, and is referred to as one of the most important works of Iranian children's literature. This book was published in 1968. The story of The “Little Black Fish” was chosen from among various works of Samad Behrangi since it was his only work on the mystical journey. The “Little Black Fish” concerns the challenges faced by the main character in passing through different stages of the mystical journey.
Ahmad Ghazali was a mystic jurist and a jurist mystic. In The Resalat Al-Toyur, he has pleasantly narrated the journey of the birds to the King-Simorgh palace.
In studying literary works, the focus is usually on the text, the writer, and the reader. In the current comparative study, the authors could be divided into two groups of contemporary and classical. Readers also belong to two different groups in terms of age. However, the texts are well-matched since both are among the famous literary works of Iran and share the same theme of mystical “journey”. Both works also enjoyed an allegorical and symbolic language.
In Attar’s Mantegh Al-Tayr, as an adaptation of Ghazali’s work, seven stages of a mystical journey are engaged which include: quest, love, wisdom, independence, monotheism, amazement, indigence and death. This taxonomy was employed as a model or framework in comparing the stages of the mystical journey
In the current research, the stages of journey in “The Little Black Fish” (in the contemporary children’s literature) have been compared with the stages of the mystical journey of the birds (in classical literature). In the two works, the stages were not distinctively named. However, all seven stages of the journey of the birds could be identified in Samad Behrangi’s “The Little Black Fish”.
Amazingly, the classic framework of Ghazali’s and Attar’s mystical journey of the birds was so applicable to the story of “The Little Black Fish” that it seemed as if Samad Behrangi had artistically and delicately arranged the stages of the black fish’s journey in accordance with the stages of the mystical journey of the birds.
Behrangi was quite familiar with children’s language, and he was also familiar with the classical Persian masterpieces like those of Ghazali’s and Attar’s. It does not seem improbable that while he was writing The Little Black Fish, he also might have been thinking about the stages of the mystical journey of the birds. The process could also be of unconscious or subconscious type. In any case, what was found in the present paper indicated the high comparability of journey stages in the two works in Persian (children and adult) literature.
The findings of the current research indicate that the story of “The Little Black Fish” can be compared and interpreted based on the framework of the journey of the birds in Ahmad Ghazali's Resalat Al-Toyur and Attar’s Mantegh al-Tayr. It was realized that the stages of the journeys of the heroes in the two works were remarkably similar. The major reason for the existence of such an incredible similarity was found to be the fact that they belong to mystical-literature and cover the same theme of ‘mystical-journey’. Last, but not least, the similarity may also have its roots in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.

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Gender, difference and uniformity of gender rules are considered as fundamental concepts of anthropology of gender. The present research is an attempt to examine Farhad Hassanzadeh's evidences (particularly in the ages of D and H) so as to analyze them based on post structuralism anthropology. Having confirmed the customary insight, understandable expressions, the ideologies that governor on traditional Cultural structures, One pole is the center and the other one is margin. However, as the matter of fact, the mentioned binaries (the two mentioned polars) are not superior to each other. This research, via considering the viewpoint of giving centrality or having one of two poles in nature/culture binary and female/male, analyzes whether the rate of centrality had been given to Female pole and in whose one it has been given to male pole, in which literally work centrifugal has been happened and in which ones it has not.This research shows, in the most discussed fiction centrality of writer characterization is based on male pole and looking manner to women’s character has not been kept a loof from past traditional stereotype
Life in the modern era, especially from the mid-20th century onwards and after two world wars, has, by a great margin, disrupted all previous assumptions and altered human perceptions of many concepts. In other words, a complete cultural revolution has taken place in society. Gender and how it is addressed is one of the concepts that has undergone significant changes compared to the past. Concurrent with changes in human perspectives on these issues, cultural anthropologists have introduced the branch of gender anthropology, the main concern of which is to explore femininity and masculinity beyond their biological nature. Consequently, it aims to "revert to prioritizing other social categorizations (such as ethnicity, age, religion, and social status) over gender categorization by disregarding the concept of 'femininity' as a cohesive social stratum" (Fekouhi, 2007: 233).
Feminist anthropology, as one of the important branches of cultural anthropology, which focuses primarily on gender issues, began in the 1970s and is now evolving into gender anthropology, in which the previous extreme feminist approaches and the focus on the female pole are no longer relevant, and the focus of research is on gender rather than sex. The fundamental belief of this field of study is that there must be a distinction between the "biological characteristics of sexes and the cultural characteristics, referred to as gender.   
According to this group's interpretation, 'femininity' is not a biological position but rather a social-cultural one. Therefore, it is assumed that this social-cultural position, which has been adapted to the biological position of women in a particular society, is contractual rather than natural" (Fekouhi, 2007: 232-230).
Although in most cases literary works, especially fiction, are not written for direct education or reflection of specific ideas, and usually differ significantly from the real world due to the presence of elements of imagination and fantasy, sometimes stories can explore concepts that the author is considered part of the dominant culture in contemporary society. In this way, one can find the layers of the author's interpretation in the story and, on a broader scale, the society of the author. It should also be noted that in relation to children, the transfer of both direct and indirect positions is important, and from here the importance of children's literature as an element for transmitting various concepts becomes doubly important.
Thus, the present study turns to children's literature from the perspective of two authors of different and indeed influential genders to explore their gender perspectives and to search for the relevant examples in these works based on descriptive-analytical and interdisciplinary approaches in line with the theory of dualities of cultural anthropology. Gender anthropology believes that the characteristics of men and women in any society are shaped, reflected, and transformed in its literature, art, and culture. The confrontation between men and women and in some cases the superiority of one over the other is the result of the dominance of specific ideological forms in some thoughts, not the result of the different nature of men and women.
From the examination of selected stories, it is evident that characters are often nurtured based on the concept of gender rather than sex, and in most cases, biological differences are considered the factor behind gender differences. In the stories of Judge Noor, the title of the story and the name of the book are often masculine, and in his storytelling, men are also presented in a more favorable position, introduced with higher awareness and knowledge compared to women. They are depicted as readers, not credulous, and not simple-minded. In most stories, they are the heads of the family and are considered decision-makers, but in terms of emotion, responsibility, and family care, they are shown to be inferior to women. Men in these stories are often harsh and unemotional, lacking a proper relationship with their spouses and children, often unemployed and unable to provide for their families, leading them to resort to violence, which naturally victimizes the family, primarily women. However, this can also be attributed to societal status, family welfare, and individuals' ignorance during the narrative timeframe. In these stories, the author sometimes introduces a newer generation with more positive attributes; they are aware and courageous, striving to create positive changes in their lives, with men having a greater share in this. With the passage of time and in a period of rapid cultural change, which is witnessing the greatest gap between generations, the difference in the type of perspective on the issue of gender in previous and present works appears natural. Therefore, the intellectual growth and change in society's perspective on gender have led to a noticeable difference in later books by Hassan Zadeh compared to his earlier works. One of the indications of this is the increased presence of women in society and the subsequent growth of central characters in the form of women's gender. Women in these stories have a more favorable position in terms of livelihood, welfare level, thinking, awareness, satisfaction, health level, and social presence. Sometimes, the audience in the stories is confronted with signs of female dominance and the predominance of women's will and power, and changes in women's temperament and character (from avoidance of dominance to seeking dominance and even violence), something not seen in the works of other selected authors.
However, the dominant view still influences the stories, and in most cases, female characters are depicted in a way that they lack intellectual and financial independence, have simple beliefs, are interested in superstitions, and are captives of undesirable affairs falsely attributed to religion. In contrast, men are more aware, considered the economic and intellectual pillars of the family, have made significant positive changes in terms of emotion and affection, have appropriate relationships with their spouses and children in most stories, and are presented as more positive and complete characters.

Style is the way of paying a literary text whose branches have blossomed on the body of the language. The language of a text is the words that sit together and create sentences and phrases, and this language expresses the thoughts, feelings, views and beliefs of the author of the text and his personality. Stylistic studies include three linguistic, literary and intellectual axes. In this research, the linguistic features of Abbas Maroufi"s novels have been analyzed in syntactic, lexical and phonetic layers.

This research has been done in a descriptive-analytical way, on the basis of library studies and by mentioning examples equal to stylistic components.

Abbas Maroufi, a contemporary writer, has a special writing style. The findings of the research show that Meroumi uses language and linguistic elements according to the structure, content, space and characters of the stories. The fictional language of Abbas Maroufi, both in the field of words and in the context of the words, is a living and literary language that shows well the layers of thought, feeling and emotion of himself and the society. All language elements in famous stories have a coherent system, which puts him in the ranks of writers with style.

The main and most important linguistic highlights in Abbas Maarouf"s novels, which distinguish his writing style from other writers, are the appropriateness of the language of the characters in the stories with their personality types, the use of adjectives and simile elements after the verb, the use of vau at the beginning of sentences and clauses, the abundant use of verbs Prefixing is bringing consecutive verbs, having special linguistic motifs, repeating a word or sentence throughout the stories according to the narrative space, selecting and arranging words according to their emotional load and the story space.

After the publication of novels and stories, various forms of literary criticism, theories, and history of literature with different approaches in relation to them come into existence. Exploiting the descriptive-analytical approach and certain bibliographical elements, the present study seeks to examine Jamshid Iranian’s Book: Social Reality and the World of Fiction which is the first critical book in Persian literature. In writing it, Jamshid Iranian benefits from Lucien the sociological theories of Goldmann and George Lukacs. Given the book’s merit, it has a clear structure, a coherent text, good analysis, and compatibility between the text and its goals. In addition, it pays attention to aesthetic aspects in its analysis and does not have any limitations in expressing its views. Despite the positive aspects, the book suffers from some demerits manifested in its criticism and sociological analysis with respect to the sections on philosophical and psychological criticism as well as in its ambiguous border between the historical structure and historicity of stories. These weak qualities do not reduce its values and impacts and damage its coherence. According to the genealogical perspective, one can regard the book as a turning point in critical studies in the field of fiction since it has created the gap between pre-published and post-published books (in the field of sociology of literature), setting itself as an example/criterion for performing more scientific and precious literary studies.

Style is the way of paying a literary text whose branches have blossomed on the body of the language. The language of a text is the words that sit together and create sentences and phrases, and this language expresses the thoughts, feelings, views and beliefs of the author of the text and his personality. Stylistic studies include three linguistic, literary and intellectual axes. In this research, the linguistic features of Abbas Maroufi"s novels have been analyzed in syntactic, lexical and phonetic layers.

This research has been done in a descriptive-analytical way, on the basis of library studies and by mentioning examples equal to stylistic components.

Abbas Maroufi, a contemporary writer, has a special writing style. The findings of the research show that Meroumi uses language and linguistic elements according to the structure, content, space and characters of the stories. The fictional language of Abbas Maroufi, both in the field of words and in the context of the words, is a living and literary language that shows well the layers of thought, feeling and emotion of himself and the society. All language elements in famous stories have a coherent system, which puts him in the ranks of writers with style.

The main and most important linguistic highlights in Abbas Maarouf"s novels, which distinguish his writing style from other writers, are the appropriateness of the language of the characters in the stories with their personality types, the use of adjectives and simile elements after the verb, the use of vau at the beginning of sentences and clauses, the abundant use of verbs Prefixing is bringing consecutive verbs, having special linguistic motifs, repeating a word or sentence throughout the stories according to the narrative space, selecting and arranging words according to their emotional load and the story space.

One of the branches of the school of realism is magical realism, which is an innovative and new way of writing stories, in which the elements of reality and fantasy are combined in such a way that the border between them is not easily recognizable and the reader easily accepts it, in fiction works, attention to magical realism has been paid attention to by writers in order to know more about this school. In this research, an attempt has been made to theoretically examine this writing style in the novel Village by Ilami writer Mohammad Moulai, and that dealing with magical realism can bring another lens of native fiction to the audience. Moulai, in paying attention to magical realism, includes components such as realistic description of details, the role of talismans and demons, the use of magic and jinn, the use of imagination and illusion, amazing events, duality and opposition, symbolism and mystery. He has used conflict, voluntary silence, specific timing, exaggeration, local customs and superstitions. The author establishes a close connection between the world he created in the village and the real world and has used a believable tone in combining reality with imagination. The author's thinking in creating magical realism in the village novel is rooted in thoughts and ideas that are associated with the supernatural factor. Benefiting from the factor of magic and genie have the highest frequency and the use of conflict has the lowest frequency in the village novel. The author's use of magic and the group of goblins has caused the element of fantasy to come along with the author in this composition and create otherworldly images.

Romanticism is used in the concepts of fantasy, legend, and dream. This movement uses all kinds of literary works, historical stories, horror and fantasy stories, love stories, and poetry as a means of expression. The story of "Anarbanoo and his sons" is a work of Goli Taraghi, which has many affinities with some elements of the school of romanticism. The current research is theoretical research that uses the library research method and data description and analysis to investigate the story of Anarbanoo and her sons from the story collection "Somewhere Else" based on the components of the school of romanticism. The scope and society studied is the story "Anarbanoo and his Sons" from the collection "Somewhere Else" by Goli Taraghi, published by Niloofar Publishing House. Referring to some findings, it can be said that the individuality of the main character of the story, which is one of the important features of romanticism school, has a special language in the emergence and reflection of some components of romanticism. Such as emotions, utopian dreams, naturalism, and nostalgia. The memory of the beloved and the critique of civility have been created. The old lady in this story puts the symbolic theme of love and overcoming problems in front of sanity. The motherly feeling has overcome any caution and reasoning in the possibility of occurrence. The basic principle of romanticism is the preference for feeling over reason.

Modernism can be considered one of the most important schools of contemporary fiction literature. The main difference between modernism and the schools before it, including realism, is the refuge of the characters in the story to the inner world, to the extent that it can be said that instead of narrating the external world and surrounding events, the modern writer focuses on the spiritual and mental changes and conflicts of the characters in the story. It gives and shows, and by breaking the narrative and linear structure and with the help of the fluid flow of the narrative, the plurality of narrators, etc., the story in the line of the past novels, the components of dissociation, wandering, death thoughts, originality of the individual, change in moral principles and so on. The main purpose of this essay is to examine the components of modernism in the intertextual approach Two fiction works are Buf-e-koor by Sadegh Hedayat and The nocturnal harmony of the wood orchestra by Reza Ghasemi.

The research method in this article is descriptive-analytical based on finding the modernist components of the intertextual approach in the comparative study of the two novels The nocturnal harmony of the wood orchestra and Buf-e- koor in a library format and using the content analysis technique.

Two modern stories of the Buf-e-koor and the nocturnal harmony of the wood orchestra have used propositions such as the originality of the individual, absurdity, loss of identity, the separation of the narrative system, the fluid flow of the mind.

In the story of Buf-e-koor, Hedayat is interested in breaking the linguistic and spatial system of events, using techniques such as the fluid flow of the mind, nesting and vicious circle, mental associations and the integration of memories and time of the past, present and future in a delirious way, among his story tricks in Buf-e-koor. In a textual analysis, this narrative design can also be seen in the story of The nocturnal harmony of the wood orchestra.

Women have had a prominent place in the works of writers during different periods of fiction literature, and before the entry of female writers into this type of literature, women's issues and emotions with a male point of view appeared in stories; But from the 1940s onwards, women found the courage to address women's issues by entering the field of fiction writing, and introducing women's social position became one of the main concepts of women's fiction. Shehrnoush Parsipour, Moniro Ravanipour, Ghazaleh Alizadeh, and Goli Taraghi are among the writers of women's fiction literature, each of whom has addressed women and their social position in society from a specific perspective. In the works of the mentioned authors, women accept various roles in the society. Sometimes he takes a passive state and bows down to the determinism of problems, and sometimes he overcomes the obstacles and problems of society in order to achieve excellence and perfection.

The method of collecting information for this article is library study and the use of scanning tools, and the method of writing and dealing with descriptive-analytical information. The statistical community includes the novel "Ahl Gharq" by Moniro Ravanipour, the novel "Touba and the meaning of the night", "Women Without Men" written by Shahrnoush Parsipour, "Khane Idrisiha" written by Ghazaleh Alizadeh, and the novels "Happening" and "The Last Day" written by Goli Taraghi.

One of the important themes related to the woman and her social role in the stories are issues such as patriarchy, daily life, love and female feelings, and trying to find identity. Each of these issues is a source of water and factors in the formation and flow of women's lives.

The point of view of contemporary women writers regarding the role and position of women in society shows that despite the obvious differences, there are major commonalities in their attitude towards this issue. In addition to their gender, this originates from factors such as environmental and geographical conditions, the level of knowledge, traditions and beliefs, and the ruling system of the society, and has had a significant impact on the creation of female characters by writers.

Parenting style is one of the significant approaches in the field of psychology which deals with the importance of the role of parents and the way they interact with their children. In the 1960s, Diana Baumrind identified four main types of parenting styles: authoritative, authoritarian, permissive, and uninvolved. Each of these styles takes a distinct approach to raising and interacting with children on the part of parents. One of the most well-known authors of contemporary fiction, Jalal Al-e Ahmed, using caustic humor explored in the book “The School Principle” how to raise children, how to educate them, and how parents might help their children improve their social skills. In the present study, we investigated the parenting style in Al-e Ahmed's novel “The school principal” through a descriptive-analytical approach. The findings of the study reveals that this novel among the four types offered by Baumrind, can be examined based on the authoritarian parenting style. Furthermore, its elements lead us to positive and beneficial implications for parenting education in the .

Literature is a foundation for showing anomalies and disordered social situations, and over time, this critical view has entered all political, cultural, social, artistic, etc. fields and has caused profound changes. In accordance with these developments, fiction literature has been able to create a discourse whose product is the production of a new literary form and context, so that it can draw a clear horizon for the advancement of humanity in this valley. In classic stories, the central character connects cause and effect with his presence in the story, but gradually in modern and post-modern stories, the element of causality is absent and the fictional characters are unable to express cause and effect relationships. The purpose of this article is to examine the evolution of fictional literature based on the element of character in three eras: realist, modern, and post-modern.

This research was done in an analytical-descriptive manner and based on library sources; Describing the stories in terms of content and theme in the three mentioned periods, as well as comparing the speech of the characters and their effect on direct and indirect action on the verbs of the story, is one of the analytical and descriptive methods of this research.

The findings of this research show the place of dialogue element in the characterization of the writers of all three periods. In realistic stories, the conversations during the story are based on the outside world. In the modern period, due to the predominance of the inner world, conversations are often monologues and in an irregular and scattered form, and in postmodern stories, the conversation has more interaction with mental conflict and has a lot of irregularity.

The common thread of all three periods is the formation of the theme of the story based on the dialogue element; Also, the author"s ability to emphasize the types of dialogues in the fiction works of each period is one of the most important verbal and non-verbal factors of the characters in the progressing process of the story.

Women writers in Iran and Arab countries have always been able to express their stance in writing their fictional works and were welcomed by the public in this respect. Story writers emphasized that women show the reader a special meaning of the female experience that male literature is not able to reveal. Accordingly, they tried to write works directly related to the experiences of women. The current study was conducted in the fields of formation and development of women's writing in the fictional literature of two countries based on the American School of Comparative Literature and the descriptive-analytical method. The results of the research indicate that the first period of women fiction writing in Persian and Arabic literature expresses the feelings of oppression, suffering, and deprivation. The second stage, is the period of restoration of women's identity and raises the issue of the right to choose, women's freedom, and discrimination of women's identity. Getting out of negativity and promoting the acceptance level of the women's role from the home environment to different levels of society, including political, economic, social, and cultural features, and choosing the hero among women, are among the most important features of women’s fictional works in the third period of women’s writing in Persian and Arabic literature. The women writers' efforts to show a female narrative and represent women's identity are presented in different ways at different levels of the text such as the use of words, characterization, and the choice of the female hero and narrator.

The purpose of this article is the hypertextuality study of manifestations of metamorphosis in Gholam-Hossein Sa'edi's works according to Gérard Genette's theory of hypertextuality. This theory is one of the five types of Genette's theory of transtextuality which concentrates on inspiration, derivation and effectiveness of the hypotext on the hypertext. Besides, this theory includes two basic types, imitation and transformation. Metamorphosis is considered as one of the most remarkable elements in myths, folk tales, and legends. Based on this process, unexpected and gradual changes demonstrate themselves in the appearance and sometimes in the conscience of the creatures and they transform from one form to another while displaying different performances. Moreover, sometimes they can appear in the combined structure of humans, animals, plants, and objects. Literature is the origin of presence of these manifestations and they have had mutual effects on each other over the time. The mutual impressiveness and effectiveness provide an opportunity to study them with respect to the theory of hypertextuality especially by considering contemporary literatute as the target resources which fewer researchers have focused on it. The results of the study demonstrate that the manifestations of the metamorphosis exist in thirteen stories, one novel, six plays, and three screenplays written by Gholam-Hossein Sa'edi. In this article, based on the descriptive-analytical method, these manifestations were classified and determined in three different groups and then they were studied based on a qualitative content analysis. At the end, impressiveness of these manifistations in Gholam-Hossein Sa'edi's works from ancient literature and folk tales has been studied according to the hypertextuality theoretical framework. The results represent that Gholam-Hossein Sa'edi sometimes has used these manifestations with direct and indirect influence of ancient and religious narratives and folk tales (hypotext) in his works (hypertext), however, in most of the time, he has used his creativity and imagination to make these manifestations in favor of progress of the story.

The title of the story is the first path through which the writer and the reader communicate with each other. This type of short paratext, directly or indirectly implying the subject of the story, is the first factor that guides the reader to the world of the story, its meaning, and the selection of a specific approach to it. This is more evedent when it coms to the short story because of its shortness, each and every word is used sparingly and functionally from the very beginning. In the current research, the author seeks to examine the functions of the titles in a number of short stories by prominent Iranian fiction writers using a descriptive-analytical procedure. The results show that among the descriptive functions, the titles that are related to the content of the work have a much more significant use compared to the titles that address the form or format of the work. Also, among the thematic titles, metaphorical, thematic, ironic, and descriptive titles have been noticed more by authors. In terms of the evaluation function, referring to the author's moral and worldview, cultural issues such as the Iranians beliefs, political-social issues such as the westernization of Iranians, the domination of foreigners over them, and the failure and disappointment resulting from the August 28th</sup> coup, the issue of Intertextuality and finally, climateism are among the most prominent implicit and hidden values in the titles. They are provided in two opposite categories comprising; unfavorable situation against favorable situation and Westernism against nationalism. With respect to the function of attraction, content strategies such as universality, questioning, and norm-breaking have been worthy of special attention to story writers, and based on their appearance, strategies such as brevity, admonition, and rhetorical issues have been widely used.

In the Arab world, moral themes were sometimes presented in the form of poetry and, sometimes prose. However, in the present era, this trend has emerged in an educational context and as a new art called "children's literature". Among the Arab countries, Egypt can be addressed as the pioneer in this respect and the genius of people like Kamel Kilani is a proof to this claim. The present study is an attempt to examine the various aspects of characterization in Kilani's work in a descriptive-analytical procedure via addressing Kilani's collection called; "Ten Stories". As the obtained results indicated, research shows that characterization, as one of the elements targeted in the story, is more direct in Kilani's "Child". For the main characters, more of the narrator element and dialogue is used, and, for the sub-characters, dialogue, description of behavior and face, expression of correct behavior are presentd in a more indirect way. Kilani's work comprises intellectual, educational, and moral goals, lexical and linguistic goals, and themes such as fidelity, honesty, and truthfulness.

Nativism is a modern term that emerged in parallel with the process of the independence and liberation of the eastern colonized countries from the domination of the western colonialist countries and at the same time, it emerged in various fields, including fiction. By examining the various definitions of this term and the way they are used in all kinds of literary research, it can be seen that choosing any of these definitions can easily change or deviate the research process and its results. In other words, the lack of a precise and practical definition of nativism can be considered the most important challenge and shortcoming of studies related to this field. In order to achieve such a definition, this article has analyzed and found the roots of the meaning of nativism in Iranian fiction from 1285 to 1400 in a descriptive and analytical way. In this way, at the beginning of the research, all presuppositions about nativism were ignored; then this term was analyzed from social, intellectual and literary aspects. The research results showed that nativism is different from Native writing and other similar concepts in terms of meaning and function. Also, in the redefining of this term, as the most important finding of the research, it was found that nativism in fiction is a two-faceted reaction that deals with both native and colonial components at the same time.

The authors of this article have tried to open a new way to study, study, analyze architecture and related sciences by examining the concepts and data obtained, citing fictional literature and relying on interdisciplinary methods. The research method is applied in terms of purpose and descriptive-analytical in terms of data collection. The descriptive part is based on the documentary method and the case study. The analytical part, which is the reading of descriptions of fiction-climate literature, is done with a "semiotic" approach. The reading method in this study is in fact the retrieval of the codes of "spatial elements" in the "physical space of the house". The results of this study indicate that this reading is influenced by various factors, including the analytical experiences of the analyst. What can control the information that the text conveys to the reader is the text analyst's architectural insights and experiences, which can provide appropriate visual alternatives between the possible states that meanings can evoke. Finally, a model for architectural reading of fiction is proposed.

Literary engineering, as one of the main structural mechanisms of words in literary texts, is of significant importance. Because the structural context of the speech, based on the type of each literary genre, shows a unique form and structure, which can be a manifestation of moral, social, cultural relationships and... in a period or in a society. . In the meantime, mystical literature with its systematic structure, in order to have the basics of behavior and methods of seekers, includes a huge range of relationships and relations of fictional literature. It provides a suitable basis for criticizing and analyzing the structural principles of speech based on the intellectual principles of structuralists. This research has explained the mystical engineering of this story in a descriptive-analytical way and in a library method (studying books and theses). And the culture of the people is an era. T

Mohammad -Ibn- Movaylehy (1323 AH = 1906 AD) is a talented writer of nineteenth century. He was a reform writer that create a masterb piece named Hadith -e- Isa-Ibn-e- Hisham.This work is  real examples of Egyptian society in the nineteenth century that Movaylehy like a sociologist with accurate knowledge of community drew a modern fictional style. The content of this story indicated Movaylehy liberal thought is realistic manner. Movaylehy’s style, in this book is using simple and new words. The results of the present article can be mentioned: Movaylehy with an understanding of social and political situation in Egypt in nineteenth century,  Tried to use art fully story writing technique to comment thoughts and feelings. Though his writing story writing technique is not mature European story But tried the element of his history should be close to the European story. The presence of social satiricalanecdotes that show the class conflict in egyption society and Attention to the scientific content in accordance with current knowledge other points.

Naturalism is a literary perspective that considers the behaviors, attitudes and thoughts of humans originated from inner instincts and natural urge. According to the theory of naturalists, all the facts and phenomena in nature are in the field of scientific knowledge and can be justified by the laws of natural sciences.in the other words, naturalism is the formula for the application of modern science in literature.Naturalism emphasizes aspects of inheritance, environment, definitive fate, see life away from idealism and negating supernatural issues in literature,and in this way draws details which are generally ugly and disgusting. After the constitution, literary naturalism entered the field of Persian fiction through the translation of literary works and influenced writers such as SadeghChobak, SadeghHedayat, Ahmad Mahmoud, Mohammad Masoud, Ismail Fasih, etc.Examining the literary works of holy defense shows the existence of some prominent elements of naturalism such as objectivism, pessimism, black thinking, extensive description of war disasters, rare use of some unconventional expressions about warriors, attention to the science of physiology, and so on taht are seen in some of such works.This research has analyzed some of the characteristics of naturalism in the two novels "Zamestan 62" by Ismail Fasih and "Safar be Geray-e 270 Darajeh" by Ahmed Dehghan using a descriptive-analytical method and with the help of library sources.The result of the investigation based on the textual evidence shows that some naturalistic elements are prominent in these two works.It can be said that what distinguishes naturalistic works from other writings can be identified in these two novels.