مجله مطالعات ادبیات کودک
سال یازدهم شماره 2 (پیاپی 22، پاییز و زمستان 1399)

The purpose of this paper is to study the “women’s character representation” in ten selected stories by Mohammad Reza Yousefi. In this study, stories such as “Red Design Rug” (Qaliche Botteh Goli), “The Story of Golru and Golbu” (Qessye Golru va Golbu), and “Green, blue, and yellow” for the early leveled and middle-grade audience are analyzed on the basis of ideational metafunction. Findings show that women in these stories are active, influential, educator, and thinking individuals. In the introduction of women in the narrative context, Yousefi uses actions, speeches, and traits attributed to fictional characters. “Material process” is the main tool of the author in the active non-discriminatory representation of women in the structure of narratives. This process has a remarkable persuasive work, and makes the audience accompany with the characters and their actions, and reinforces the factual aspect of the story. “Female characters” are “agents” in most of these verbs. The low attendance rate of these participants in “mental processes” is also effective in “realism” and making the audience “believe” the story.

In children’s literature, if a child, in addition to learning the standard language, is expected to learn dialogue and informal language as well, he/she might face duality of some sort. The present article suggests the following for solving such duality: First, emphasize on the solution provided by Mahmood Kianoosh; ‘changing the order of words in the sentence’, instead of using ‘informal words and grammatically breaking the order of words in the sentence. Second, selecting words from the synonyms which are not only suitable for the audience’s understanding; but are also consistent with the pleasure they experience by reading. Third, paying attention to the geography and the linguistic convention of the certain region in which the story is happening in. Fourth, paying attention to this point; formal words become informal in the audience’s mind in a fictional situation and atmosphere. Fifth, selecting formal words used by the majority of people in their conversations. Sixth, paying attention to words available in authentic literature, and even the ancient literature that are also popular in peoples’ conversations. Seventh, using attached possessive pronouns and excluding extra words, which helps the story become closer to the peoples’ discourse. Eighth, observing the fact that in historical stories changing the words into informal ones could invalidate the authenticity of the dialogue atmosphere. Ninth, if for any reason we decide to make a word informal, we had better not exaggerate in that. Tenth, consider the exceptions. In cases that formal writing appears artificial; using the informal word is preferred. Finally, the researcher has evaluated and criticized the model of ‘reducing the syllables’ that is suggested by Ali Solhjou, and alternatively offers ‘spontaneous prose. The paradigm of the present research is qualitative research, with an interpretative approach and by data analysis through the comparative inductive methodology, and all the resources are gathered from libraries.

The present research is an interdisciplinary qualitative one which was conducted in order to investigate the picture accompaniment in conveying the message of illustrated works for age groups B and C. The inquiry was accomplished to explore whether the translators take the pictures into consideration during the translation process or not and in the case of consideration, what kind of strategies would be chosen by them. To achieve the purpose, three illustrated books for age groups B and C (each in two versions of original and translated work) were selected and then studied through content analysis method. Also, several interviews were carried out with experts and stakeholders of illustrated books' production (illustrators, translators, publishers, …). The inter-semiotic model of translation, proposed by Aguiar and Quieroz, was opted for as framework of the research. According to the findings, the researchers concluded that diverse strategies have been picked and utilized by translators in their translated works, and they have not taken the pictures into consideration identically. Besides, although translator is known as the main and determining factor in translated works, there are also other factors which influence translators' works implicitly but intensively. Eventually, on the basis of findings, a novel model was presented which can be beneficial for stakeholders of children books.

Throughout history, powerful institutions of various communities have turned to Children’s Literature to pursue their political, religious, economical, commercial, and socio-cultural purposes. As this had occurred commonly in different communities, the query of the present study was to investigate whether Iran’s powerful institutions had also affected Children’s Literature to pursue similar purposes as well. Review of previous literature showed no similar work carried out on Iranian Children’s Literature with such intention. The study was delimited to only those written and translated literature that had received awards by national and international institutions (this would ensure direct effect of power on product) and the scope of investigation was from 1340/1361 to 1367/1988. The period was selected intentionally due to the drastic socio-political and ideological changes in the country because of two major events: 1) the Islamic Revolution and 2) The Iran-Iraq war. A sum of 169 awarded literatures were collected and then analyzed quantitatively by SPSS software and later qualitatively by content analysis. Overall, results showed that despite all the commotion in the country, powerful institutions had indeed affected Children’s Literature and directed it for other purposes.

Archetypes can influence the individual and collective subconscious of humans. However , some of the archetypes play a more decisive role in the collective mindset of a nation. The "victim archetype" could be regarded as the oldest archetype in the Iranians' beliefs which has continuously been available in our history and culture. By analyzing the role of the characters in the story, the present study sought to indicate the reproduction of the "victim archetype" in four novels, namely The Fortresses of the Akhulgheh Castle, and The Bandits, The Beautiful Heart of Baboor, and The Monster's Shadow, which have been the most popular young adult novels at the decade of being published. The result of this analysis shows that the interpretation of the world in these stories is still based on mythical attitudes and regardless of the complexities of the real world and other solutions, it assures the audience that there is no other way than to victimize or be victimized to obtain good or reject evil.

Joseph Campbell has studied the world's stories, showing that there is a single and universal pattern titled "The Hero's Journey" for all the stories, even lifes. Choosing the lifestyle and character of the heroes can deepen the adolescent's view of the purpose of life and it is important to emphasize the hero as one of the elements of the adolescent story. The mythical-herotic novel series of Ashvazdangheh and its main character, with its immortal trait and meaningful purpose, was a good choice for examining the heroic journey pattern.Therefore, the purpose of this study is to illustrate and critique the hero's journey and to examine the differences between Ashvazdangheh's story with Campbell's heroic journey pattern. So, the seventeen stages of Campbell's model were explored in the journey of the teen's hero of the story. It is identified in this study that the hero of this story triumphs in his inner battle and against the evil (Ahriman)'s wizards, he becomes the master of the two worlds. The researcher also considered displacements and repetitions in stages "Belly of the Whale, Supernatural Aid, Woman as the Temptress and The Road of Trials" compared to Campbell's pattern. According to the reviews, it can be said that the hero's journey pattern is based on stories from the world, cannot entirely match fictional events. Of course, the story of Ashvazdangheh, in spite of the differences, coincides with the overall pattern of the Campbell hero's journey.

Kalile va Damne is one of the valuable texts of the past and any attempt at displaying its hodden capacities can make the young generation more acquainted with the various values of this text. In this study, Kalile va Damne is approached through a new perspective so that its capacities for being re-written be partly represented and a method be suggested for selecting old texts, methods based on theories in young-adult literature and able to make their works more comprehensible and enjoyable for its readership. The purpose of this study is to realize the capacities of Kalile va Damne for being rewritten and recreated.this study has also aimed at examining decentration as an aesthetic factor by recognizing the techniques of decentration in the tales of Kalile va Damne and their effect on children’s self-fulfillment. The findings of this study show that out if the 21 techniques of decentration that Khosronejad and Moradpour have found in tales, eleven are found in Kalile va Damne. The function of some of them in this oeuvre is similar to their function in tales, and that of some others is new and different, in which case it develops that technique. The decntration techniques in common between tales and Kale va Damne include: exhibitionism, narrator’s intervention, tale in tale, displacement of the protagonist, debate, surprise, exaggeration, white-writing, metamorphosis, inversion, and simultaneous scenes. Six new techniques were found in Kalile va Damne, that can be added to the previous ones: awareness of the ending ,Inner textual, changing the narrator (if accompanied by changing the point of view),Compound characterization, tale-to-tale, and poem, verse, Hadiths in prose text.

In communication with infants, adults usually use a certain kind of language which in vocal stretches, hesitations and repetitions is different from the usual adults' conversational language. This special kind of language is called "Babytalk". The cognitive investigations on Babytalks has shown some specific poetic characteristics which can prove the existence of literal cognition in human infant as soon as the first weeks of life. This article as the first step, argues the theoretical researches which prove the cognitive potentials of poetic understanding in infants, among them David Mail and Ellen Dissanayake's research (2002). In the next step, the potentiality of cognitive poetics of Persian lullabies is argued. In this section we are going to show if the aesthetic criteria of Babytalks exist in lullabies as well; and if the lullabies can serve as the reference of the paradigms of infants' cognitive poetics? The results of our assessment show that Persian lullabies respond positively to the poetic characteristics of Babytalks. Those poetic dynamics which are in common between Babytalks and Persian lullabies including special metric features, simplifying, frequency of frontal phonemes, parallelism and iconicity are surveyed here.

The purpose of this article is to analyze and analyze the rewritten story of Bijan and Manije. The story of Bijan and Manije is one of Shahnameh's romantic and entertaining tales whose creative rewriting introduces the audience to children and adolescents. The research method is qualitative analysis of the content of the works and the method of data collection is in the form of documents and libraries. Bijan and Manijeh's rewritten story is one of the new versions of the ancient text (Shahnameh), creatively rewritten for a child and adolescent audience. The results of the study showed that the story of Shahnameh rewritten by Atusa Salehi, although more focused on enriching spatiality, also conveyed the epic space and tone of the old text to the audience and created a fresh and attractive narrative for the reader. It also features features such as changes to fixed text elements, character representation, whiteness and readership in the story, creativity at the beginning and end of the story, creation of new story spaces and themes, Bijan and Manije story. Has made it a creative narrative and rewrite.