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The cultural and biological connection of men and women of Guilan with rice farming activities has made their rituals to represent the patterns of planting and harvesting. Ghasemabadi dance is one of those performance rituals that provide an opportunity to exchange content related to society, coordinate actions among group members, strengthen coalition and stabilize group structures. In other words, in addition to the role of people in the dance process, the result and impact of performances in society is important. Therefore, the purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity. The current research is theoretical in terms of its purpose and descriptive and content analysis in terms of its nature and research method. The method of data collection is library and field using the method of ethnography in the region, observation, interview, registration and recording of information. The research findings show that by displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form

This article analyzed the views of Onsor al-Maǎly, Khajeh Nasir-e Toosi, Sa'di, and Vaez-e Kashefi on upbringing as presented in their works: Qabusnameh (1083), Akhlaq-e Naseri (1236), Golestan (1258), and Akhlaq-e Mohseni (1495). It compared these perspectives to Baumrind's (1927) parenting styles. The writings of these four Muslim thinkers, spanning different historical periods, were examined through a descriptive-analytical lens, focusing on the theory of responsible Islamic parenting and its alignment with Baumrind's framework. This study addressed several key questions: What teachings do these authors convey regarding parenting? What methods do they employ to impart these teachings? What are the similarities and differences between their approaches and Baumrind's views? The findings indicated that the parenting methods advocated by all four authors were rooted in Islamic and revelational principles, emphasizing responsibility and the divine nature of humanity. These methods influenced by the cultural and social contexts of their times aligned closely with Baumrind's authoritative style. Onsor al-Maǎly shared personal experiences through allegories, while Khajeh Nasir employed scientific and philosophical reasoning. Sa'di and Kashefi utilized allegory and anecdotes; however, Kashefi's focus on political matters had resulted in less emphasis on parenting.

Collective narrative has recently been recognized as a growing genre. in recent years, the typology of collective narratives has been subject to varying theoretical approaches. Narrative scholars have categorized collective narratives based on the use of “we” in discourse, their distinction from realist narratives, the relationship between the elements of “I,” “we,” and “others,” the contrast between the exclusive and inclusive forms of “we” in narration, and the divergence between story and discourse levels. To date, no single criterion proposed in the limited studies of this field has gained unanimous acceptance. However, a deeper analysis of foundational research reveals that, over time, literary narratology has achieved more defined frameworks for collective narrative models. In this context, the present study examines the progression of research, identifies the interconnections among these theories, and proposes the narrative element as a metric for classifying types of collective narratives. The findings suggest three primary categories: I + Others, Group + Members, and Collective Character.

Studying linguistic layers of the word “wajh” in Quran by use of lexical semantics leads to semantic understanding of this word. This word is used in Quran according to the semantic network in different layers such as: God, prophets and human beings. The study aims to explain semantic fields of the words connected to the word “wajh” in Quran relied on syntagmatic and paradigmatic relations of words. In this research the word “wajh” in Quran is studied with regard semantic network and rely on Bonn school and context theory by use of analytic-descriptive method. The findings of the research show that the word “wajh” is used in meanings such as face, attention, interest, Qibla and way, essence, satisfaction and divine values, intention to act, fraud and dignity. Also, this word and its derivatives have been used in different meanings, such as the divine wajh, prophetic and humanistic aspects (a high-ranking human being, a loser and the outward appearance of human being). The word “wajh” is added to the word “rab” in its highest layer. This collocation shows that God’s essence is not knowable and God must be known through His names and attributes.

The phenomenon of morph movement is extremely rare and, in Kalhori Kurdish, it applies to the third-person singular pronominal clitic, motivated by the need to avoid vowel hiatus. Fattahi and Kord Zafranlou Kambouzia (2013) investigated one example of this method for resolving vowel hiatus in Kalhori Kurdish. Introducing another contextual example different from the one in the aforementioned study, the study presented new findings on morph movement and compared with the results of previous research in this field. Furthermore, analyses related to morph movement were conducted within the framework of Parallel Optimality Theory, with the aim of discovering the relevant constraints and ranking them to determine why, despite more common methods like deletion, insertion, and glide formation, this instance of vowel hiatus in Kalhori Kurdish is resolved solely through morph movement. The research was conducted phonologically based on data collected through 20 hours of interviews with 15 Kalhori Kurdish speakers. The results showed that morph movement, in addition to occurring in the context of verb suffixes, takes place in proximity to emphatic clitics, and this movement happens not only in the case of a three-vowel hiatus but also with a two-vowel hiatus. The optimality analyses also revealed the existence of active constraints in this dialect that do not permit vowel hiatus resolution through more common methods, thus necessitating the use of morph movement.

Since the characters are the best manifestation of the author's feelings and beliefs and the psychology of personality types is very important in knowing the characters, the present research aims to investigate the characteristics of types three and four of the nine personality types (Enneagram), among the theories in the field Characterization has been done. The statistical community of this research is the collection of stories "Havali Kafe Shuka" by Yar Ali Pourmoghadam.

In this research, the method of collecting information is library type and descriptive-analytical research method.

A comparative analysis of the characters of the story collection "Havali Kafe Shuka" based on three and four personality types of the Enneagram shows that the author has focused more on some moral characteristics and characteristics of these types in this collection of stories. In type number three, features such as neuroticism, addiction to lying, compromise (Martha); Imagination, extroversion and attention seeking, narcissism (fortune teller) are represented in characters more than other characteristics of this type. The characters of Marta and fortune teller can be seen as symbols of these characteristics. In type number four, there are also characteristics such as being emotional, having morbid and desperate thoughts, revenge and introversion (Stella); Depression, self-isolation and intense emotionality (Almas) have been represented in characters more than other characteristics of this type.

With his art, Pourmoghadam has created a close relationship between the characteristics of the characters and the atmosphere of the formation of the story, in the sense that by using the appropriate environment with intellectual characteristics, he has been able to highlight their thoughts in the context of the story with complete mastery. In general, most of the characters in the stories are lonely, isolated, depressed, sick people, with mental problems and mental-psychological depression, whose environment is the driving factor for many of their actions. The fictional characters of Pourmoghadam represent the thoughts, actions, behavior and speech of their author's society; The thoughts that originate from his relationship with the culture of the south and the customs of the society and the people that he revealed their thoughts by reproducing the dialects.

 Role-oriented theory is an approach used to describe and analyze the text. In this approach, three ideological, interpersonal and textual roles are considered for discourse analysis. By examining the structure of the sentence, this approach explains different types of processes and their functions in the sentence, and based on this, the sender presents his experiences, thoughts and perceptions of the events and phenomena of the outside and inside world to the audience. he does. In Halliday"s view, it is assumed that the patterns of experience are represented in language in the form of processes and through thought processes. Therefore, by examining the types of processes in verbs and determining the frequency of their occurrence in the story, one can be aware of the author"s experiences, thoughts, and inner world. 

Considering the trans-role approach of thinking and the close connection between mind and language, the present research has investigated the processes used in the Sovshon novel with the method of qualitative content analysis based on Halliday"s role-oriented theory. 

The findings of the research show that Simin Daneshvar has reflected his feminine views in the character of Zari in his novel Suvshon, while describing the socio-political developments of the contemporary era, and has described and narrated events by using material and relational processes. and has been able to show his views about the social situation and the position and role of women. 

The analysis and analysis of the data show that material processes and secondly relational processes have a very high frequency in Sushon"s novel. In order to present the events of his time more concretely and realistically to the reader, Daneshvar uses verbs that refer to real material events, the high frequency of material processes removes the atmosphere of the story from the intangible state and as a result causes Make the story believable for the reader.

Literary theory is a systematic study of the essence of literature and a way to analyze literary phenomena. Although the literary theory has been widely used in Persian literature research in recent years, it seems that its semantic and empirical realm has not been well established; because in some research conducted in the field of Persian literature, individuals’ literary opinions have been mistakenly read as literary theory. In the following article, to show the difference between literary theory and literary perspective, five specific characteristics of literary theory have been explained and described; which includes these items: “Arising from a philosophical mindset”, “Systematic and coherent”, “The result of reflection on the text”, “Providing a new perspective” and “Using in criticism”. In the following, the extreme point of view that believes in the similarity between some opinions in Persian classical texts and Western theories on the existence and even the precedence of theories in its past has been criticized. And it is clear that basically the discovery of these views in past scientific and literary texts was due to familiarity with western ideas. In the end, the result shows that because of the inefficiency of the literary opinions collected by the researchers from the characteristics of a theory, the term “literary theory” is not correct and accurate for their opinions and literary opinions. It is better to use the term “literary perspective” to make the field of knowledge of Persian literature more precise about such opinions and theories, so that this term has its own specific definition and examples.

This study examines the relationship between social structure and literary production in Amal Dunqul's poetry, based on Lucien Goldmann's theory of literary sociology, which emphasizes the connection between literary thought and the social context. The central issue of the research is how social and political transformations are reflected in Dunqul's poetic structure, and to what extent his texts express a collective consciousness that mirrors class struggles and intellectual shifts in his society. Dunqul's poetry was not just a reflection of reality but a tool for resistance and engagement with it, making it a valuable model for analyzing the relationship between literature and social structure. The research uses a descriptive-analytical approach, analyzing a selection of Dunqul's poetic texts according to Goldmann's concepts of worldview and semantic structure. The analysis focuses on deconstructing the symbols and poetic imagery Dunqul used and how they embodied the social and historical conflicts of his time. It also examines his linguistic and expressive styles, critical awareness, and the extent to which his poems interacted with major societal events. The findings show that Dunqul’s poetry goes beyond self-expression, becoming a tool of resistance that shapes collective consciousness through language and imagery addressing societal and political issues. The analysis also reveals that his poetry, based on critical awareness of reality, aligns with Goldmann's view of literature as a means of expressing social contradictions and reshaping collective consciousness.

Sound substitution is a process whereby a phoneme in a loanword is replaced by its closest phone in the borrowing language. English and Arabic share dental consonants /D/ and /T/ which are absent in Persian. This comparative study aimed at explaining how these consonants are substituted by Persian speakers within the framework of optimality theory (Prince and Smolensky, 1993/2004). The findings of this research indicate that their substitution in English (loan) words depends on their position in the syllable; the dental consonants /D/ and /T/ are replaced by the dento-alveolar consonants [dÏ] and [tÏ] respectively in the syllable onset of (loan)words because they are the closest consonants to dentals. However, /T/ changes to [s] in the coda position since the markedness constraint ‘LAZY’ which favors sounds produced with less energy prohibits the substitution of /T/ by the more effortful stop consonant [tÏ] in this syllable position. With regard to Arabic (loan)words, the substitution of the dental consonants /D/ and /T/ (which are represented by the graphemes  <ذ>  and <ث> respectively in Arabic orthography) depends on how these graphemes are pronounce in Persian. Therefore, this process cannot be explained using an analysis that is solely phonological. So, there is a need for an analysis which incorporates graphemes as well. Technically speaking, a constraint which has access to graphematical information is needed. Some optimality theory phonologists who came up with this need while working on other languages have already proposed orthographic constraints as the third type in addition to faithfulness and markedness constraints. Accordingly, the pronunciation of the graphemes <ذ> and <ث> in words adapted from Arabic by Persian was analysed using orthographic constraints which require these graphemes to be always pronunced [z] and [s] respectively. This comparative study presents arguments in favor of different constraint rankings which cause the occurances of these processes

Riffaterre's theory is one of the most important modern critical methods that seeks to clarify the concepts of literary works, especially contemporary poetry, and tries to discover mysterious literary concepts and convey them to the readers of these works.  This theory is based on two types of reading;  The first reading is exploratory reading and the second reading is post-active reading, which is used to separate the basic concepts of the text in order to understand its most basic meaning. The authors of this research analyzed two odes from the poetry collection of Jassim al-Sahih, a contemporary and outstanding poet of the Arab world, which in a way represents his poetic style and circumstances by applying this theory of semiotics, in a descriptive and analytical way. One of the results obtained in this research is that the poet has borrowed a lot from the homeland, nature and living creatures in writing his poems and identified with them in order to convey many great poetic concepts to his audience.  Although most of his poetic concepts are discoverable for the readers, their complete understanding depends on the reader himself and his analytical method, which the use of Riffaterre's critical method helps significantly in this matter.  Despite the fact that he has hidden a part of his existence and history in the shadow of his verses, his poetry is alive and dynamic in the passage of time in sync with nature for the use of humans

Structural criticism and deviation are fundamental concepts in the theories of Russian Formalists, focusing on the distinct characteristics of literary language as opposed to ordinary language. These concepts offer a scientific and conventional method for analyzing the artistic features of literary works. Deviation is a significant characteristic of poetic language, which leads to linguistic innovation and provides the audience with aesthetic pleasure. In this study, the author aims to examine phonological and lexical deviation in Hamid Mosadegh's poetry collection through a descriptive-analytical approach and a formalist perspective, based on Leech's deviation model within the framework of structuralism. Geoffrey Leech, a renowned English structuralist, classified literary features into eight different levels: 1) lexical, 2) syntactical, 3) phonological, 4) graphological, 5) dialectal, 6) register, 7) semantic, and 8) historical. Through these deviations, Mosadegh was able to convey his messages innovatively and distinctively using ordinary words, achieving this in the most beautiful and creative manner possible. The research findings indicate that Mosadegh, by employing phonological deviations such as reduction, augmentation, intensification, omission, easing, and euphony, as well as lexical deviations like neologisms and novel compounds, has enriched the musicality and meaning of his poetry. Moreover, he has creatively utilized these deviations to enhance the impact on the audience and express his deep emotions and concepts

The Persian translation of The Adventures of Hajji Baba of Ispahan by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation, and other fields of humanities have studied its various aspects. However, so far, no research has studied the reception of this translation by Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected, and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the Persian translation receptions discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods, the Persian translation of The Adventures of Hajji Baba of Ispahan was of interest to the literary taste and in line with the expectations of the readers, including those of writers, critics, and researchers. It continues to be widely received by the readers, which has made this work enduring and popular.

The structural analysis of literary works leads to a more appropriate understanding and reception of literary works due to the examination of the elements within the text and the discovery of the governing pattern of the texts, and with the help of the results of these analyzes it is possible to achieve the methods of creating different works and to discover the appropriate patterns of analysis of each work. did One of the methods of analyzing narrative texts is the narrative theory of Algirdas Grimas, entitled "narrative grammar In this article, which is taken from the author's doctoral thesis, the researcher intends to measure the authenticity of the story of Ekvan Diu with the help of the findings of the thesis. The results of the research show that all the magical stories of the Shahnameh, including the story of Ekwan Diu, are consistent with Grimas's narrative pattern; But at the same time, the magical stories of the Shahnameh also have unique features that the investigation of these special features can question the authenticity of some stories or strengthen the authenticity of the stories that are doubtful

In modern psychological researches, color is one of the ways to measure people's personality. Because each of the colors has a special effect on the soul and psyche of people and can reflect a part of a person's personality. In the present study, the effect of the psychology of colors based on the theory of Max Loescher in Rahmani's poems has been investigated and analyzed in a descriptive-analytical way. According to the results of the research, the use of the first four colors of the poet is not in accordance with the Luscher test pattern, which, according to the analytical data of the test, indicates Rahmani's frustration and emotional and psychological deficiencies. Black color is the most used in Rahmani's poetry. A person who makes black the first choice negates everything because he feels that nothing is as it should be. Among the main colors, red is the most widely used color, whose high frequency expresses the rebellious and passionate spirit of the poet. On the other hand, green, which is considered one of the main colors, has no place in the poet's first choices. This situation shows the anxiety that a person endures from various types of stress.

Halliday’s cohesive theory is one of the most important theories in functional linguistics, extensively used for the analysis of diverse literary texts. Based on this theory, logical, semantic, grammatical as well as formal relationships create cohesion in a text; hence, textual cohesion is classified into grammatical, lexical and connective subcategories. Grammatical cohesion includes reference, substitution and ellipsis while two subcategories of reiteration and collocation shapes lexical cohesion. Sa'di's verbal art is so enriched that meaning is not sacrificed for the sake of form, nor is form sacrificed for the sake of meaning. The poet's dexterity in the Persian literature's lexical and grammatical subtleties, and appropriate and skillful use of literary devices has made his poetry distinctive. In this descriptive-analytical research, adopting Halliday's theory of cohesion, one verse anecdote from the Būstān (The Fox and the Dervish) is selected to analyze the use of cohesive devices across three linguistic layers. Although cohesion in Sa'di's ghazals has been widely acknowledged, the reasons behind the cohesive strength of the verse anecdotes in the Būstān have not been thoroughly examined from a systemic functional perspective. Hence, the main research question was how lexical, grammatical and connective devices were employed in Sa'di's poetry, and which device was emphasized the most. The results corroborated the extensive and diverse use of cohesive devices in the verse anecdotes, in which the use of lexical cohesive devices is most outstanding. Among the grammatical devices, the poet puts more emphasis upon reference and ellipsis respectively. Furthermore, the poet's dexterous use of lexical cohesive devices, particularly repetition and its various forms on one hand, and collocation on the other hand, enhanced the beauty of the poet's expression, aiding its impact and facilitating better meaning transfer, so that form serves the purpose of meaning.  Among cohesive connective, additive and causative were the most prominent linguistic elements. This conclusion is in accordance with the characteristics of Sa'di's poetry as simplicity, lexical beauty, and fluency are outstanding features of this version of Iraqi style. Therefore, from a practical perspective, Halliday's theory is considered an appropriate framework for identifying cohesive devices in the prestigious poetic and prose texts of Persian literature, such as the Būstān. Based on the way cohesive devices are employed by various poets and literary figures, one may be able to understand, from the perspective of meaning, the organization of their thoughts and the originality of their ideas, and from the perspective of form, the unique verbal and rhetorical styles of each poet.

This study examines the pronunciation errors of English consonant clusters among Iraqi EFL learners through the lens of Optimality Theory (OT).  For this aim, 40 first-year university students of different majors aged 18-25 years were selected from beginner and lower-intermediate levels based on their scores on Oxford Placement Test. Using different instruments, such as reading instruction and read-aloud test, and being informed from the category of major pronunciation problems by Arabic learners presented by Yavaş (2011), an Optimality Theory-based analysis was adopted in the research. Findings indicated that in pronouncing initial clusters of two consonants, *COMPLEX onset as the high-ranked constraint is frequently violated in Iraqi Arabic (IA), because in IA there are many words started with #CCV. Also, *#CCC is never violated in IA. Since constraints are universal, languages differ only in how they rank them. In pronouncing a coda cluster consisting of two consonants, although *CCcoda is never violated in IA, this constraint is not permuted in the pronunciation of the participants. However, to pronounce words with the structure of VCCC(C)#, it seems that the two low-ranked constraints, namely *CCCCcoda and *CCCcoda in English are permuted to high-ranked constraints in the pronunciation of IA learners.

Association as an approach in teaching and learning includes an important part of mystical literature works, because, on the one hand, it has a wide connection with the productive approach of mystical content, and on the other hand, it helps the learning process. This is why association has an important place in contemporary theories of learning. The foundation is the association of dynamism and movement, and it takes the mystical text out of its static state and makes it coloured and tangible. Since mystical storytelling in Persian poetry began with Sana'i and reached Rumi through Attar along with reaching its peak in Masnavi, in this study, by examining three fictional works of Attar using a psychological approach, this study showed what position does association have in these works and what the contribution of each single work of Attar was to the use of associations. This is necessary to show the evolution of mystical storytelling. At first, the methods of association were discussed, and then these methods were examined in Attar's works. The results indicated that the characteristics of association and the variety of some of its tools are the cultivation of mystical themes, pluralism, deconstruction of intellectual confrontations and the multi-layeredness of the text. This reaches its peak in Elahinameh and Mantegh al-Teyr, while there is more stability in the tragicomic narrations.

Pragmatics is a branch of linguistics that studies the simple or complex relationship between language and speaker and audience. In pragmatics, the theory of speech act has a prominent place, which was introduced by language philosophers such as Austin and developed by his student Searle, and he divided the patterns of speech action theory into 5 types under the influence of internal and external factors of context. So, based on Searle's theory, we study Faliha Hassan's poems in terms of the speech acts, because her poems have many semantic dimensions and talk about human and emotional issues as well as social and political issues such as war. This Iraqi poet has a critical view on various subjects and she is influenced by the context of her poems with this act of explicit and implicit speech. This Iraqi poet has a critical view on various subjects and her poems are distinguished by these explicit and implicit speech acts. Therefore, this article tries to study the function of speech acts in Falihah Hassan's poetry based on a descriptive-analytical method. The results show that the poet used a variety of speech acts. But interestingly, this poet has used 5 types, specifically assertive act, directive act, and expressive act. In the poet's poems, we find that she used assertive acts to describe and express her emotions and experiences during the war.