مجله مطالعات ادبیات کودک
سال سیزدهم شماره 1 (پیاپی 25، بهار و تابستان 1401)

Modernism, as a great movement, led to a great evolution in the field of art and literature,. Shams is one of the writers who intends to acquaint the children and adolescents of the society with the realities of the modern world; so, this author expresses the components of the new era for this group in narrative form. The importance of the present study is to acquaint the audience with the different style of Mohammad Reza Shams, which is in accordance with the modernist atmosphere and is appropriate to the changing children's tastes. The present study investigates the prominent semantic components of modernity, including critical thinking, alienation, elitism and defamiliarization by descriptive- analytical , " Shams criticizes Injustice of society, corruption in bureaucracy, patriarchy, environmental crisis and children with irresponsible parents and intends to acquaint the audience with the trend of current world, hence he exposes the bitter realities of society objectively by critical perspective, so children and adolescents get acquainted with the contradictions of the present society by reading Shams stories.On the other hand, the present life of people in the society is accompanied by alienation, that Shams displays this component in the stories of " in the form of loneliness and death, identity crisis and anachronism.In the story of,Shams deals with the contradiction between the elite class and the middle class by an elitism approach, so in this narrative, the elite tries to complete the mission by superhero ideology and independently, and finally, in the stories of the author by applying the anarchist component, uses characters who are different from their peers, so they think of performing affairs and goals independently by audacity in searching.

This study seeks to shed light on the symbolic function of colors, their applications in the poetry of children and adolescents, and their role in the semantic elaboration of poems. Unlike the poetry of adults, children’s poems lack numerous semantic layers. This is due to the limited vocabulary of children as well as their little knowledge of how to analyze or interpret symbols. On the other hand, children are endowed with good imagination and the capability of imagery and self-identification. This enables them to understand many images and form-meaning links and take artistic joys, which expands the scope of their communications. Symbols can, thus, be used in a limited way. It is to be noted that children of different ages understand an image differently. For example, due to their lack of cognitive power for semantic interpretation, pre-school children can rarely make a sense of symbols. Symbols not only give a depth to literary texts but also help to enhance one’s sense of aestheticism and creativity. As Chevalier and Gheerbrant (2000) state, symbols certainly play a significant role in shaping the minds of both adults and children. They are spontaneous expressions, create consistent relationships and serve as a tool for creative imagination and invisible realization.

The data of the study were collected through library work. First of all, 134 collections of children’s poems were reviewed. They belonged to nine poets including M. Rahmandoost, A. Sha’bannejad, J. Ebrahimi (Shahed), Q. Aminpour, M.K. Mazinani, N. Keshavarz, B. Maleki, A. Sha’bani, and A. Salehi. Then, 32 collections were found to contain symbolic colors. Of them, 21 collections were assigned to the adolescent age group. After the extraction of the poems with symbolic contents, a descriptive-analytical method was used to classify, describe and explain the likely meanings of the symbolic colors. Finally, old and modern poems were compared in terms of the symbolic meanings encoded in these colors. The frequency of such symbols was also measured in different age groups.Literature review    In his book ‘Figures of Speech’, Shafie Kadkani (1971) dedicated a whole chapter to the critical analysis of the colors used in the Persian poetry. Nikoobakht and Qhasemzadeh (2005) discussed the symbolic application of colors in the works of three poets. Hassanli and Ahmadian (2007) analyzed the Shahnameh for the mythical and psychological features of black and white colors. So far, the poems of Sanai, Sa’di, Nezami, Nima, Sepehri, Sereshk and Monzavi have been investigated from the viewpoint of colors too. In her book ‘From This Eastern Garden’, Salajeqheh (2006) has a brief discussion of the old patterns of colors used in children and adolescents’ poetry. Despite such studies, no research has ever been conducted on the symbolic functions of colors and their application in the poetry of children and adolescents.

Black  In Iranian myths, black symbolizes demon and demonic forces. Some ancient Persian poems such as the Shahnameh use black as a concept not only to describe night, hair, multitude of warriors, devils and witches but also to depict royal majesty, mourning atmosphere and enmity (Hassanli and Ahmadian, 2007). As the analysis of the poems showed, black as a symbol is the most frequent color. It is applied in children and adolescents’ poetry to criticize poverty, deprivation, hostility, bereavement, ignorance, sins, and despotism. The following example sentence is suggestive of the function of this color:“The alleys of the city, like homeless children, are asleep under the black umbrella of the sky which looks in patches. No one except for the black shadow of the clouds moves in those alleys.” (Maleki, 1992, p. 14)White In the Shahnameh, the white color symbolizes beauty. For instance, Keykhosrou attains immortality in a white atmosphere (Hassanli and Ahmadian, 2007). Similarly, it is the symbol of chastity or avoidance of sins in Haftpeykar (Varedi and Mokhtarnameh, 2007). In modern poetry, as in Sepehri’s works, it also connotes purity and honestly (Nikoobakht and Qhasemzadeh, 2005). This is also the case in the poems written for children and adolescents; it suggests beauty, purity, innocence, hope, waking time and rebirth. For example:“Black clouds have screened the moon, but snow has whitened the hair of this dark night.” (Maleki, 2003, p. 78)Green In the contemporary poetry, the green color is suggestive of hope, growth, life, habit, God, revelation and spirituality (Hassanli and Seddiqhi, 2003; Nikoobakht and Qhasemzadeh, 2005). In children and adolescents’ poetry, green sometimes imparts hope and satisfaction. As Itten (1963) states, “happiness, hope, and a combination of faith and knowledge are among the concepts that green represents” (p. 95). Also, as Ebrahimi (2003) poeticizes:“One can see green blossoms in the tired face of the leaves; Face of God shines on the tree when in fall it quietly bereaves.”Green, as a representative concept, is also frequently used in poems about the promised savior. In this regard, Beaucorps (1994) believes that, in religious ceremonies, green indicates hope and expectation for salvation as well as the second coming or resurrection. For instance:When swallows begin to fly and dive,A rider in green is seen to arrive.He smells like a rose that in April springs,Butterflies on the tippet that he slings.  (Maleki, 2003)RedIn the Shahnameh, this color symbolizes death and sometimes life exciting with love (Hassanli and Ahmadian, 2008). In the contemporary poetry, however, red is used with a religious flavor to represent martyrdom (Nikoobakht and Qhasemzadeh, 2005). This is true about the children and adolescents’ poetry as well:His blood lies in the heavens,The rainbow is what it reddens.When it falls through the heavens’ rips, It can be found down there upon tulips. The red color also connotes shame and love, as it is the case nearly everywhere round the world (Sattari, 1997). Note the following verse:Our eyes greet as they meet,Turning us red in shame and heat;Then into hearts love gets its feet.  (Rahmandoost, 2004) Blue In children’s poetry, religious or spiritual concepts are often associated with blue. This color is usually considered very positive, as a reminder of truth, religious feelings, security and spiritual purity (Guerin et al., 1997). As Rahmandoost (2000) has poeticized:Wondering if you know about the sky,Blue is the news of those that there lie.All is heard sounds sweet and good,No better news elsewhere you hear could.  Yellow In children’s poetry, apart from the gold of the sun, yellow is associated with the fall and the death of leaves. It also sometimes implies decrepitude and disease. Here is a representative lyric by Sha’bani (1994):Canaries can tweet but sometimes not,Yellow of their feathers make their moods rot.GrayGray has been favored by contemporary poets (Moradi, 2016), but it is often avoided in children and adolescents’ poetry. Indeed, symbolization is done so much less with gray than with other colors. What it imparts is sorrow, depression and despair:A gray silence has seized the village,Lack of breeze and roses caused it a ravage.   (Rahmandoost, 2000)

According to the reported statistics, color symbols have a frequency of 119 in the adolescents’ poetry, which is higher than that in the children’s poetry. The most frequent colors used as symbols in the children and adolescents’ poetry are black, white, green, red, blue, yellow and gray. In the studied poems, black suggests bereavement, sorrow, sins, being astray, poverty and injustice. It also refers to oppressors in poems about war. From this perspective, the children and adolescents’ poetry is not without sadness. The white color, however, compensates by injecting hope and light into the poems. It symbolizes purity, innocence, vigilance, riddance from darkness and rebirth. As another color in positive symbolism, green connotes luxuriance, livelihood, dynamism, security and the expectation of the promised savior. In the poems written for children, the red color often relates to revolution, war or Ashura event. In the same context, blue is suggestive of tranquility, beauty, love and spirituality, but its frequency is low as a symbol, which is due to the dynamic nature of those points. Yellow is applied dubiously in that it refers both to depression and sadness as negative concepts and to charm and happiness as positive ones. As for gray, it imparts grief and gloom. The analysis of the color instances has shown that each color has the same symbolic meaning in such poems as it commonly does in the society.

Computer games with a new form of communication, along with entertainment, education, etc. as a tool, is a desirable moment that can be attributed to its attractiveness and influence in directing the cultural current that dominates the mind. And users' minds used it appropriately, and considering the rich and valuable capacities of Iranian art and literature, and considering the generally child and adolescent users of this media, from texts that show the appropriate and popular capacities of this group of audiences. Or by converting classical Persian texts in new readings to works suitable for use in making computer games, made extensive use of this very wide platform. Based on this, and considering the elements of fantasy and fantasy in the works of epic and classic romance - such as Haft Peykar - which has been seen in many popular / widely used works of the world in the form of literary works, movies and computer games. It is possible that the attractive capacities of this type of texts along with educational goals, especially with the approaches of national and indigenous culture in the form of various dramatic reconstructions and especially computer games, can be used. Thus, this classic text is one of the outstanding works that due to its outstanding features in the main story, the seven anecdotes and the existence of various challenges and exciting adventures can be read in one Update used it to make an Attractive role-playing computer game.

Considering that in previous researches, Haft Peykar of dramatic, narrative and literary, comparative and historical and even psychoanalytic dimensions have been studied, in this research, a descriptive-analytical method is tried as an example of literature. Romance epic is analyzed in terms of the desired reproductive capacity for computer games and the main question is answered, how can this text and texts with similar capacities be considered in the production of role-playing computer games.

Haft Peykar is an epic text that can be viewed from the perspective of credible indicators such as stories and various elements of narrative aspects along with the characters and the variety of creatures created in it, in addition to a suitable platform for reproducing all kinds of conflicts and challenges. Fighting and mental attention. As it should be said, the story in this work from different angles, including the main story line, side adventures, variety of themes and the multiplicity of space and place, and especially with emphasis on creating an open and wide world for open world role-playing style games. Based on this, the various stages of an adapted game can be learned in the form of learning and skills in hunting and practicing map reading and creating mastery of the user over the main character and how to guide and control him as a common training stage in many considered a computer games. Also, the use of weapons and tools in the fight against dragons and other human or surreal creatures based on text and added by game makers based on updated and attractive graphic icons and taking into account the minds of today's child and adolescent user, in the stage designed the first. then reproduced his presence in the court battlefield and snatched the crown from between the two lions and killed them along with side missions to reach the throne, as the second stage. Fighting King of China and various heroes of his corps can be considered a suitable platform for creating a third stage based on physical challenges and designing a variety of hand-to-hand combat. Also a selection of seven stories such as fighting all kinds of spells and magic and overcoming all kinds of obstacles and intellectual tests based on using the creativity of the user's mind, to reach the main character of the story to the prince, based on the story of the red dome and Fighting all kinds of monsters and escaping from the clutches of giants and monsters, according to the story of the turquoise dome, will form the fourth and fifth stages. Eliminate Rastravesh and his accomplices in the court and repel the danger of King of China with a combination of hand-to-hand combat skills, using different strategies and mental tests, and reading intelligence inscriptions. The sixth and finally entering the cave after hunting a special grave and using tools and navigating to the last part and disappearing and ending the story of the seventh stage - corresponding to the number of seven in text - will shape the game. On the other hand, themes such as appealing to the oppressed with emphasis on revenge and salvation, fighting lions and dragons and showing the theme of superhuman courage and bravery and focusing extensively on the theme of love and melodrama relationships All of which can appeal to a wide range of computer game audiences, especially in the role-playing and role-playing-fighting genres. On the other hand, this story and its themes have been formed in various spaces and places such as forests, plains, mountains, caves and amazing places such as Khornagh Palace and the seven colorful palaces of princes, etc., which the designers games can be understood based on them and by using exaggeration in the final payment and creating more variety and emphasizing the Iranian components including architecture, light and color, climate and natural and geographical attractions, etc. Suitable for children and teenagers, to easily design the space required for an open world game to experience a variety of small and large missions. Also, the existence of a variety of creatures and characters, including a variety of human superheroes, giants and various predatory animals, etc. with the practical functions required in an interactive game and the variety of roles in the text are other factors that can be suitable area for positive and negative characterization with high multiplicity and variety in a role-playing game and tailored to the position of the hero / heroes of the game in various aspects such as combat, search and adventure and passing various types of combat tests , Mentally and rely on a variety of control skills to be recreated.

In a final conclusion, it should be said that Haft Peykar, including romantic epic texts with a suspenseful narrative and a combination of romantic and attractive themes, it is possible to focus on the desired indicators needed in game design computer games used it in the popular style of role-playing. From this point of view, in answer to the main question of the research, it can be claimed that this text is due to the benefit of an interesting and adventurous story that has the ability to represent a variety of story complexities in the narration of computer games Appropriate storytelling well demonstrates the ability to entertain the user in a range of valuable concepts and popular themes. Also, the multiplicity of space in this work provides the ability to create a very wide environment for game designers, which in accordance with the unlimited space required in open world role-playing games, the conditions for creating a game with a standard time process in will make available. In addition, the multiplicity of the presence of the hero of the game in different roles and situations, strengthens the adventurous capacities in it and allows the user to be in the game and by controlling each of these roles In the form of various missions, share a unique and enjoyable experience and by making some adjustments in accordance with the way of expression in role-playing games and especially creating a reinforced suspension during Conflicts and the use of Cut Cine transformed it into an intriguing adaptation of the game.

In the National Curriculum of the Islamic Republic of Iran eleven areas of teaching and learning are defined, one of which is "Persian language and literature". In this document, the approach to teaching of this area is "communicative" which not only orients the classroom teaching and learning, but also pervades other mediators such as elementary school Persian textbooks, wherein the communicative approach is more outstanding than other textbooks; because they mainly deal with literature, which is the manifestation of language. From Bakhtin's point of view, language essentially addresses, that is "all language is addressed to someone, never uttered without consciousness of a relationship between the speaker and the addressee" (Guerin et al, 2005: 362).  Therefore, any media dealing with language (whether oral, written, or visual) always forms a relationship with the audience, so does the elementary school Persian textbooks. It is therefore impotent to address how Persian textbooks communicate with their audiences through their stories, as this communication plays role in the child's construction of subjectivity.

literature and the research purposeThis research is qualitative. The samples are fourteen stories of elementary school Persian textbooks (the first three-years). Data analysis method is deductive-inductive content analysis in terms of which I analyze the samples based on the components of Aiden Chambers' theory of "the reader in the book", namely, style, point of view, taking sides and tell-tale gaps, as well as the criterion of " taking sides of children and adolescents as the fictional characters" as proposed by the picturebook group of SUCCLS.The literature review reveals that the issue of implied reader in textbooks has especially been taken as a theoretical framework in mathematics and geometry, but it is understood and applied differently from what Chambers conceptualizes. As far as the objective of this research is concerned, it purports to investigate the implied reader of the stories of elementary school Persian textbooks (the first three-years) based on Aiden Chambers theory of "the reader in the book". In this connection there are three objectives:1. Investigating the ability of stories used in Persian textbooks in drawing the readers in to the text 2. Discerning the embedded child in the stories 3. Examining whether these stories can be considered as children's works.

In this section, I investigate Chambers' components of implied reader in the stories. StyleIn the analysis of style, plot, tone, figures of speech, imagery, choice of words, omissions occurred in the process of retellings, simplification and compression of stories in the retellings are considered. The main weakness of plot in most stories is underdeveloped obstacles the protagonists face to conquer. In other words, the plot is devoid of serious challenges or they are very superficial in that a character rather than the child solves the problems quickly; while no space of inquiry, problem-solving, decision-making and constructing subjectivity is left for the child. Imageries are weak too. The words are very formal and adult-like and sensory verbs are rarely used. The tone of speech is serious, cold, and distant from the child. It is used in an abstract and descriptive way. The omission of parts of the story and fading the humor are stylistic changes in retellings that has reduce the aesthetics of the work. point of viewThe omniscient and limited third person point of view are the two dominant points of view for narrating these stories. Surprisingly, no stories are narrated in first peson and the child is not the narrator. Taking sideDue to strict educational goals, most of the stories do not take side of children as much as they should, and hence, didacticism leaves no space for being child-likeness, and experiencing childhood. The tone of the narrator in these stories is warning and cautionary; The child has obey  the adult's warnings about the consequences of her/ his actions and not transgressing them, otherwise s/he will be faced with the result of her/his behavior. Tell-tale gapsRegarding tell-tale gaps, there are deep deficiencies. The stories do not call for the ambiguity and not allowing the reader to have different interpretations so that the reader cannot participate in meaning-making. It seems that the reason for this is the tendency towards strong didacticism, in that the priority is the message transmitted, not giving space to the audience to create meaning.

In this research, I have investigated three questions: 1. Can the stories used in the elementary school Persian textbooks draw the child into the text? How do these stories establish relationship with the child? 2. What concept of the child is embedded in these stories? 3. Can these stories be considered children's work or not? The answer to the first question is negative.  the concept of child embedded in these stories is a static child who does not participate in meaning-making and imagination. The stories do not "halve this matter amicably". S/he is an ignorant and cognitively incomplete being whom, under the heavy shadow of adult authority, must submit to intense didacticism in order to reach the adulthood developmental endpoint. Given the findings, the answer to the third question seems negative. But what is the solution? I suggest that the textbook policymakers and authors need to benefit from existing children's literature which can both meet the goals of literacy and language learning intended by formal education and establish a democratic relationship with the child by taking her/him into account.

  Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. 

The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. DiscussionUsing mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most.The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality.Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree.   Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals.     The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. 

Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind.   Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.

Since 1989, in addition to its cultural-literary content, the Speaking Doll journal has published manuscripts for children and adolescents in the form of stories and essays on specific topics. In these writings, child readers have appeared in the board of author. These texts can be analyzed from various dimensions. In the present study, the issue of how children and adolescents reflect their gender identity in their narratives and stories. Using Norman Fairclough's critical discourse analysis approach, children's autobiographical texts at three levels of description, interpretation and explanation have been studied and analyzed to show how their gender identity is represented. Gender identity is the most important part of any person's identity. What gender people are born with, from the very beginning, creates characteristics and traits for them and affects all aspects of their lives. Children regain their gender identity around the age of three, and especially in the final years of childhood, they begin to identify with their same-sex parent. The boy considers a male role model and the female considers a female role model. By reinforcing these patterns, they gradually acquire gender roles. Gender roles are a set of behaviors that any society, based on its definition of "masculinity" and "femininity", deems appropriate for people of that gender.  In recent years, there have been many changes in attitudes toward gender and gender roles in Iranian society and the family. Therefore, in view of these changes and distancing from the traditional approach of the patriarchal family, it seems necessary to examine the extent to which the perceptions of children and adolescents of their gender have changed today. 

 In this research, using Norman Fairclough theories and critical analysis of discourse, stories and writings (essays) of children and adolescents that have been published in the Speaking Doll journal from 2001 to 2009 have been reviewed. In addition to critical discourse analysis, some sociological and psychological theories about gender have been used. In this regard, we have faced the following questions:What are the most prominent gender characteristics that each child or adolescent writer has described for themselves?What is the gender role of children and adolescents in these stories?To what extent are the sentences, phrases and conversations of the characters in the stories influenced by gender stereotypes?What is the attitude of child and adolescent characters towards their homosexuality and the opposite sex in these stories?Given the vast changes that have taken place in the institution of the Iranian family in today's world, what is the reaction of children in their writings to gender stereotypes in the last two decades?According to the qualitative approach of the work, to answer these questions, using purposive sampling, we selected and reviewed 56 texts written by children and adolescents aged 7 to 17, of which 40 were story texts and 16 essay texts. These samples, which were selected from texts written by children and adolescents in the two decades of 2000 (20 cases) and 2010 (36 cases), each of them reflected the gender identity of their authors. It should be noted about the subject of this article; In other words, nothing has been done to analyze children's writings in Iran. 

In the stories of children and adolescents, the narratives of boys are often centered on their own gender, and in a few cases, such as the subject of the essay, etc., they comment on girls. But this is not the case with girls. Girls write texts in which the main characters and protagonists are boys, we also frequently encounter texts written by girls who wish to become boys when examining their stories and narratives.   In addition, in examining the important gender stereotypes that have been reflected in the writings of children and adolescents, we found that the extent and manner in which women's gender stereotypes are represented has changed greatly in the 2000 and 2010 decades. In the 2000s, most representations of women in texts were influenced by female clichés, housework, and since then, the clichés of woman, victim, and beautiful woman have been most reflected. But in the 2010s, representations of women stereotyped, the housework declined dramatically, and most representations of women were beautiful and passive woman. Also, for the female cliché, domineering / submissive, which was reflected in several texts in the 2000s, no examples were found in the texts studied in the 2010s. In the case of male gender stereotypes, too, most representations of male stereotypes in the 2000s were violent, with the stereotypes being much less represented in the 2010s. The stereotypes of man, the outside world, the strong man and the smart man have been the most frequent stereotypes since the 2000's. Also in the 2010's, the stereotypes of man, the outside world, the violent man and the working man were the most represented in addition, in the texts of the 2010s we encountered 7 cases of breaking or questioning a particular gender stereotype, which was one case in the texts of the 2000s.  It should be noted that these changes are related to a part of a story or narrative, and the child or adolescent author in other parts of his / her writing still reproduces the ideas of the traditional discourse of gender. In addition to what has been said, other results have been obtained from the analysis of the samples examined in the text of the research, including that in the studied texts, 14 stories and narratives have compared the two genders, of which 13 or 93% of them, considered the boy as the superior sex and only one case or 7% considered the girl as the superior sex. In addition, there is no mention of equality between the two sexes.
As a general result, it can be said that although Iranian society is moving towards modernity, and today, under the influence of the discourse of modern Westernism, we are witnessing changes in gender ideas, including changes in the gender roles of women in society, but the traditional discourse in Iranian society also plays a role in reproducing some of the gender stereotypes, and it can be well seen in the writings of children who are directly and indirectly influenced by this discourse. In other words, in the minds of children and adolescents, male and female roles are formulated separately based on the remnants of the patriarchal system.

Spirituality is one of the dimensions of human existence. There are different tendencies in the definition of spirituality. The historical tendency is that spirituality is known as a subset of religion (Koenig , 2011: 198). In Islamic education, spirituality is also known in relation to religion, and one will be a spiritual person who is a true religious person. While the other group does not necessarily consider spirituality limited to the structure of religion. The existence of different theories in the field of hopeful spirituality is that spirituality has been one of the most important issues in human history throughout history, as far as the discourse of spirituality for children is more than ever considered. In this article, we have used the theory of "communication awareness", which is one of the most codified theories in the field of children's spirituality, as the scientific framework of our discussion. Therefore, first we will review the background of the research, then we will explain the theory of communication awareness and its outlines, and based on what He and Nye have explained, we will redefine the foundations of this theory for use in critique of children's stories. 

Rebecca Nye first introduced the "theory of communication awareness" in 1998 in her thesis entitled "Psychological Perspectives on the Spirituality of Children". She later introduced the concept in her co-authored book with David Hay, “The Spirit of the Child” (2006) and numerous articles. According to He and Nye, there are five elements in the discussion of children's spirituality: "contexts, conditions, strategies, processes and consequences" (Nye, 1998: 236). The contexts encompass four axes of communication with which spirituality forms: God, other people, the world and own. The themes in children's spiritual stories are reflected into the main source of the story. Condition is the language chosen by the author to convey spiritual concepts to the child. Strategies is the author's strategy to bring spiritual concepts to the story and Finally, in the processes and consequences section, the part of the character changes that the author refers to directly or indirectly in the story is considered as part of the consequences and the main consequences are also interpreted based on the characters' moods, conversations and behaviors at the end of the story.

Following four books by Claire Joubert based on the theory of communicative consciousness:In search of God: The background of this book is about the child's relationship with God. In terms of circumstances, Joubert used religious language. Dealing directly with the concept of God, which is essentially a religious concept, illustrates this claim. God is also described throughout the story in a way that is often described in Islamic religious literature. In the strategies section, searching and asking questions is the main strategy that the author has dealt with in writing this spiritual work, and the consequence of this story is more knowledge of God.God's cookies: According to the theme, the main theme of this book is about the relationship between the child and others. In terms of context, the language that Claire Joubert chooses to convey spiritual concepts in this book is, on the one hand, a religious language and, on the other, a language of values and morals. In this story, Joubert's most important strategy is search and travel scenario. Finally, the most important consequence that accompanies the audience is a change in the little bear's attitude.Goodbye old raccoon: The main theme of this book focuses on the child's relationship with the world and the axis of transmission of spiritual concepts is based on the subject of death, life before birth and continuation of life after death. In the context section, Joubert conveys spiritual concepts from the passage of religious language to children. His most important strategy in this story is to use symbolic space to express spiritual concepts. The main allegory of this story, that is, the child coming out of the mother's womb, on the basis of which the raccoon describes the process of death, is based on a word from the Holy Prophet (PBUH). Ultimately, the consequence of reading this book for children, in addition to awareness of the quality of death and the world after it, is a sense of peace and confidence in the ultimate good.The grief of the little green lizard: The main context of this book and the spiritual concept that the author intended to convey to the child is in the context of the child's relationship with himself. The language that Keller has used in this book, according to his direct hints, is derived from the concept of God as creator, from religion. In addition to religious language, the author has also used the language of the natural world. Ultimately, the result of reading this book is a sense of calm, gratitude, and a sense of worth. 

The results of our studies show; In the context section, Joubert includes all four contextual axes in the theory of communicative consciousness in his fiction books. In the context section, the most important space that the author receives and carries spiritual concepts to children is the religious literature. In each of the four books in this article, the religious attitude has a strong role in the selection of subjects and ideas and thoughts and actions of fictional characters. It seems the author's personal life and the discussion of religion change from Christianity to Islam and then his theological education (level of two areas) are one of the key factors of this tendency and concern in this area. Finally, the most important process and consequence of these four spiritual stories is primarily to change the level of spiritual awareness and attitude of children, and secondly, the ending of the stories, induces a sense of peace and confidence in the ultimate good. Also in the consequences section, we can mention the sense of worth and gratitude (in the grief of the little green lizard) and the sense of moral goodness (in the God’s cookies) that accompany the audience at the end of the story.

Discourses have a two-way relationship with society; On the one hand, the ruling powers of the society attempt to form discourses aligned with themselves, and on the other hand, the discourses shape society's thoughts in the process of their naturalization. The critical approach of discourse pays attention to the relationship between ideology and power in society structures, especially cultural structures. The most prominent branch in this approach is Norman Fairclough's critical analysis of discourse, which deals with three levels: 1- description of linguistic structures, 2- interpretation of the context and context of discourse production, 3- explanation of the relationship between power and discourse in the text.

This research is based on the approach of critical discourse analysis by Norman Fairclough and in a descriptive-analytical way, relying on examples of the text.

Every ideology, in its structure, feeds on assumptions and value systems that are individualized in a person or group. One of the approaches of discourse analysis is to examine the relationship between power and Dominant and defeated discourses. Among the naturalized discourses in all societies are misogynist discourses. In this novel, the dominant discourse, using its power that it has institutionalized in the structures of society, based on the attitude of absolute valuation and religious and traditional beliefs, it places women in a lower position than men and through this gender valuation, it deprives women of their authority over their destiny and makes them under the guardianship of men., and then by naturalizing this ideology, it limits and controls women in all structures of society, including the family. On the one hand, with critical questions, the narrator enters into a conversation with the dominant discourse and interacts with it, and on the other hand, he tries to change its inhibiting elements in favor of his own discourse.The novel Shabhaye Bisetareh, which was written for teenagers, tries to make its audience think and ask questions in the face of this discourse. According to Fairclough's theory, the present research shows how anti-feminist elements flow in the heart of society and in the hidden layers of linguistic and social structures and how a teenager faces it.
The author portrays the opposition of the two traditional and anti-traditional discourses in linguistic constructions, including words, pronouns and verbs that are ideologically charged, in the statements of the characters attributed to both discourses. Also, the process of making titles, which leads to the superiority of men and the inferiority of women in the traditional view, is one of the challenges raised in this novel. One of the elements of language that shows the ideological function of discourses is the naming process that the author used in the title of the novel to express his desired goal. The interpretation of a very beautiful paradox (starless nights), which is the name of the narrator and the central character of the story, on the one hand refers to the traditional discourse on the removal of “stars” and on the other hand, a symbolic interpretation of the evolution and awareness of “stars” in reaching it is one's rights that is associated with an image of a rainy and starless night.Using the war-torn atmosphere of the society, while showing the effort and ability of women to accompany men, the text shows one of the conflicts between these two approaches; Limiting a woman's role to the home and housekeeping is one of the common stereotypes in the traditional discourse governing the society in order to keep her away from social activities and as a result independence. The opposition and ridicule of the narrator's father to the activities of his wife and daughters outside the home, shows the devaluing of the role of women in social activities by the dominant discourse of the society, in contrast to the prominence of one of the figures of the tradition-breaking discourse -Mrs. Fahimi- in Roles such as the person in charge of the mosque base and his ability in martial training are an attempt that the text uses to neutralize the traditional attitude. The author also represents the reproduction of the traditional anti-feminist discourse by using several intertextualities that are suitable for the audience's age and questions it from the narrator's language. With the story of Khaleh Souske, it represents the historical position of Iranian women. Referring to the cartoon “Don Chuck Monogatari” is the author's attempt to break the society's sexist view and derogatory view of women and induce weakness, incapacity and fragility.
The author's references to the book “A Room of One's Own”, which is a historical example of women's efforts to achieve their human freedom and is indicated and represented in the words of the narrator, emphasizes the need for women's independence and tries to underline the objectification of women. He asks questions and makes his audience think. The author uses the story “The Ugly Duckling” to show the rejection of the narrator by his family due to the violation of anti-woman laws. Finally, the narrator reaches maturity and self-awareness in his challenges against these beliefs and crosses the barrier. slow This metatext symbolically portrays the narrator's differentness and rejection, who represents all women in his position. At the same time that the novel shows the critical and questioning view of the youth in the face of the ideology ruling the society, it has implicitly shown its support for the anti-traditional discourse.

The obtained results show that language constructions in the dominant discourse are associated with a harsh and degrading tone towards women. The author has used the war-torn atmosphere of the society, where anti-women attitudes have been more intense, for his novel, which can be generalized to the current society as well, and shows the transition from traditional discourses that consider the position of men to be higher than women. It still faces many obstacles that make this transition slow and difficult. Since the ruling power strongly supports the anti-women discourse, the social structure, including the family, is at the service of this discourse, which causes domestic violence against women and their escape from the home environment. The extent and power of the dominant and traditional discourse in the structures of society is such that even women have made and accepted obedience to men as a moral behavior part of their belief. However, the novel did not intend to completely ignore the traditions and positive values of the society, rather it sought to modify the traditional attitude by challenging the traditional discourse.

Lacanian criticism is a branch of contemporary literary criticism that examines the process of subjectivity in the individual. The ideas of this branch of criticism come from the thoughts of Jacques Lakan, the renowned French psychologist Lakan considers the process of individuality to pass from the imaginary to the symbolic. In the imaginary stage, the child that cannot distinguish between objective and subjective does not differentiate himself or herself from the other. After the transition from infancy, the imaginary union of the child and the mother disappears upon the arrival of the father and the child enters the symbolic period. At the symbolic stage, the father and his law dominate. By acquiring language and internalizing many social rules, the child gains living Conditions in the symbolic stage. But, he can never be safe from the rush of sweet memories of the imaginary stage. Farhad Hassanzadeh, a well-known author of children's and adolescent literature, ‌ in the novel " This blog will be ceded " ‌, ‌ tells the story of a teenage boy named "Zal" whose absence of parents has had a profound psychological effect on his life. The two factors of mother's absence in childhood and father's departure in early adolescence play an important role in shaping Zal's psychological structure. Influenced by these two events, Zal has problems that have led him to a certain type of life. The presence of symptoms such as a strong desire to return to the imaginary union with the mother, turning to the substitute objects of maternal desire, and also wandering among the various objects of desire, shows that Lacan's approach is the best model through which the psychological characteristics of this character can be analyzed.

This research has been done by descriptive content analysis method and in it, an attempt has been made to, according to Jacques Lacan's ideas in the fields of individuality process, imaginary realm, symbolic realm and father's name, the novel "This blog will be ceded" ‌ Farhad Hassanzadeh to be analyzed. In the method of content analysis, the main emphasis is on finding and presenting hidden messages in the text, and since the present study is writing to validate and expand the framework of Jacques Lacan's theory, it is of the directional content analysis method.

According to Lacan, in the Oedipal period, the child, realizing the mother's desire for the father, tries to maintain a bond of solidarity with his mother, which he experienced in the pre-Oedipal period, by imitating what the mother likes. According to Lacan, the mother, who is the center of the child's demands in infancy, becomes the central nucleus in the child's psyche, whose presence or absence can disrupt the child's psyche. In the story "This blog is ceded", the main character does not have a mother and has nothing in mind except fading memories. With the transition of the child from the imaginary realm to the symbolic realm, the imaginary bond between the child and the mother breaks and this issue eliminates the mother in the symbolic system; therefore, the subject tries to replace the lack of objects. In the symbolic realm, Zal replaces Ms. Turan with her mother. In different parts of the story, the reader can feel this. Whenever Zal talks about Turan, the desire to return to the feeling of wholeness and oneness of the imaginary realm arises in the mind. Zal's constant and unwanted attractions towards Turan's house, where the possibility of experiencing pre-Oedipal relaxation is represented, shows in story in different situations. However, as Jacques Lacan says, after the subject enters the symbolic realm, it is impossible to return to the imaginary realm. The lack of this impossibility is only filled by some objects, which Lacan calls small objects a. The most important object of Zal that covers the feeling of absence in her is Fariba, the daughter of Turan and Zal's lover. Both Fariba and Turan and even the character of Reza tailor are motherly symbols for Zal, which reminds her of the tranquility of the imaginary realm. That is why in Zal's mind, Fariba joins Turankhanum. According to the characteristics, we see of her, Fariba fits into Lacan's proposed system of small )a( object, but in Zal's fantasies, when there is no more step left than death and the rupture of the symbolic realm, Fariba remembers the main symbol of her mother's desire, Turankhanum. Zal cannot return to the realm of imaginary union with the mother; but it can restore that lost alliance with mother replacements. In addition to maternal symbols, Lacan also considers the subject of the small (a) object to be one of the main refuge of subjects in the symbolic realm. According to the evidence in the text, Zal cannot remain in the symbolic realm and is constantly seeking to escape from this realm. He cannot tolerate the homelessness of the symbolic realm and on the other hand, he cannot escape it. Paying attention to various objects of desire (small a), such as Fariba, Tuba (Fariba parrot) and, most importantly, the key group, each of which is a symbol of longing for the mother, are some of her attempts to escape the symbolic realm, but none of them succeed. In addition, in Lacan's model, the symbolic field of domination space of multiple signs has no meaning. The subject in this space cannot reach the signified and is only engaged in signs. Only the name of the father as the regulator of social law can free the subject from confusion between signs. Just as the subject first acquired a unified image in the age of the mirror, it is possible to achieve wholeness and unity in the symbolic realm by seeing oneself in the mirror of society. The father's name symbolically regulates social law. A child who survives the oedipal period symbolically imitates the father, and social rules and conscience are the result of the internalization of the father's character. It goes without saying that if this period of assimilation with the father is not done properly, the person will not have a stable personality and the constant hesitation resulting from this shortcoming will delay the process of identification in him. Since the father's name is a node that ends the permanent suspension of meaningless signals, his existence is considered a basic condition for stabilizing the character. Therefore, the faltering identity of Zal can be attributed to the absence of a father in his life.

"Zal" is the protagonist of the story "This blog will be ceded", a child who is deprived of his parents. His mother was lost when he was a child, and his father left him to another person and suffered a vague fate. The loss of the mother, whose vague memories are in the corner of her mind, causes her to repeatedly throw herself from the symbolic to the imaginary tranquility of the imaginary realm with the aim of repeating sweet experiences. Zal also covers the absence of the mother in the symbolic realm by substituting maternal objects. Ms. Turan is the main maternal object for her; but besides this character, there are other characters such as Fariba and Reza Khayat who mix in Zal's mind with the character of Turan from the perspective of representing the peace of the lost mother. The consequence of the absence of the father also causes the permanent suspension of Zal among the multiple signs in the symbolic realm.

One of the items effective on children’s living conditions in each era and society is the consideration and expectation which is expected from children by adults. Among adults, on one hand, governors and governments and on the other hand intellectuals have undeniable effects on both child and childhood. Each of them can move a child between an obedient, passive one or a rebel, active one by means of their position and the bases they own. Knowing a child and the childhood era and paying attention to this issue, which had been started since the Nasseri era, in 1340 (Solar Hijri) (1960s) became more important by settling and establishing children’s organizations and institutes. Establishing Children’s Book Council (1341 S.H, 1962 A.D), an NGO, along with two governmental institutes, i.e. Educational Publications (1341 S.H, 1962 A.D) and Children and Teens’ Intellectual Development Center (1344 S.H, 1965 A.D), shows children’s identity gaining and more attention to children’s issue than before. These institutes and organizations rise up, with those activities and attempts performed by authors and intellectuals, either right-wing or left-wing, under the predominance of discourses and ideologies, caused a novel, different – in some ways, and even conflicting definitions about children and childhood to be created. By the time of Reza Shah’s government coup, paying attention to the childhood was kept on. Reza Shah’s militarism had led to a disciplined and punctuated army from one side, and from another side, to establishing military-like schools with the same style, discipline and arrangement. This kind of disciplinary technique took all army, corps to other organizations and institutes under its predominance. Although establishing school s in the form of the modern ones was one of the elements of progress and development promising a change in the attitudes towards children and new era entry, it would be carrying uniformity, silence and declutter and being obedient as the heritage of the past as if they were promising the schools for training future’s obedient soldiers in the age of dictatorship.In 1340s (1960s), a variety of intellectual mainstreams appeared and thus, various voices could be heard through this; left-wing intellectuals are one of the most impressive intellectual mainstreams in that era, however. The effect of this group on the type of look over children and childhood period is undeniable.Studying the discourse of resistance – which was advertised and followed by these intellectuals – from one side, and the discourse of strength and traditions from another side, is necessary to find today’s children’s descent. The intention point of this study is the confrontation point of these two discourses regarding the children and childhood, their method of confrontation, sociability, and their education. Gholam Hossein Saedi is one of the style-owner, left-wing intellectual artists of the 1340s era. Since his adolescence, he expressed his enthusiasm in politics – or literally, escaping from incuriosity – when he joined the Toodeh party (Communist party in Iran), wrote articles and published different reviews. DIKTEH in 1340s and after that he was paid lots of attention and received lots of criticism by critics; however, there has been no research and studies with the present research approach on this drama. In this study, the disciplinary techniques as well as children’s method of resistance against that shall be investigated and reviewed by means of the inductive qualitative context method and employing Michel Foucault’s opinions. The current study has been trying to find an answer to these questions: What disciplinary and criticism techniques are seen in this drama? What is its result? How does the child resist against it? Does the confrontation and line-up of these two thoughts and mentality seen in this drama release the child from the adults’ subduing string?Studying the connection between the subject and strength is one of Foucault’s main discussions. Foucault has been trying to show that applying strength will be possible by means of a mechanism which can be checked and classified as the disciplinary and its techniques and Foucault believes that the strength acts and moves on by marginalization, rejection, encouragement and punishment, permanent care and observation, and a pyramid hierarchal way. In DIKTEH drama, these points can be seen as well. It shows a part of a student’s life who is supposed to be apparently assessed via an exam by teachers and schoolmaster for his literacy, science acquisition while in fact, he is examined for his/her obedience. But the child / student does not obey and do whatever they order him/her to do. In traditional discourse obedience was the survival condition in the society; if someone started to disobey, rejection was the least consequence. To persuade a child to be obedient and subdue him/her different techniques were used. In an overall view, the dialogues in this drama show two intellectual mainstreams which are developed based on the marginalization between the two concepts of the good student and the bad student. The destiny of such a confrontation can be found in both traditional and strength discourses. In these discourses, the child must be obedient to his/her teachers and older people and even to the punishment as well and keep silent. Obedience considered essential and vital for the student’s success in these two discourses. In DIKTEH drama, these two mentalities and thoughts about the childhood are lining up and glowing. The first one, is the representative of the not-released-from-tradition strength discourse and the lateral is risen up from the left-wing intellectual discourse. In this confrontation, the strength discourse enjoys disciplinary techniques like marginalization, frightening from the bad consequence and rejection, threatening, and encouragement to make the child obey and on the other hand there is a child against the strength who is endorsed by the intellectual mainstream and attempts to insecure the authority of the strength side by resisting. On this path, he/she uses ways like silence and disobedience, questioning and rebellion, laughing and ridiculing.In this drama, Saedi tries to consider them superior one to another by creating two mutual images. In these images, the rebel and disobedient child is superior to the obedient child. Although this image shows a perceptible distance from the traditional thought which means that the child has moved from margin to the context and is no more obedient as he/she used to be, he/she is collapsed into the encrypted ideologies of the day. Therefore, it can be concluded that Saedi’s represented child has not gotten rid of the adults’ string yet.

In contrast to originalist theories such as "circle of Polish rhetoricians", the theory of Skopos is based on the principle that purposefulness is the main indicator of a translator's success in translation process and that the function of translation is completely dependent upon the level of knowledge, expectations and norms of target readers. Because writers of children’s literature do not belong to their intended audience, they sometimes incorporate their adult experience into the writing process. When such books go beyond their borders and are supposed to be translated into another language, the translator acts in two ways when faced with such works, sometimes considering the author according to originalist theory, and sometimes focusing attention on audience in original language based on Skopos theory. The present paper seeks to examine the attention of translators of "Ghesas-ol Hayavan fil Quran-alkarim" by Egyptian writer Ahmad Behjat to purposeful translation for children and adolescents and to answer the following important question: to what degree have Mojtaba Rahmandoust and Seyed Mohammad Hossein Hosseini as translators of this work adhered to the components of Skopos theory in their translation process? Rahmandoust has translated and published the translation of this collection under the title "Guardian of the Cave", and Hosseini has translated in Persian and published the same collection under the title "Animal Stories in the Quran".

The present study is conducted based on descriptive-analytical method and content analysis. In this way, in the first step, the existing translations of the collection of stories by the name of "Ghesas-ol Hayavan fil Quran-alkarim" were gathered and studied, from which two translations were selected. Complete and perfect translation of the Arabic text was the basis of this choice. Other translations were discarded due to quantitative and qualitative deficiencies. After juxtaposing the two translations by Hosseini and Rahmandoust, comparative textual analysis of the texts as the research material was started, and the content and structure of the sentence as the translation unit was studied according to Hans Vermeer's theory. Relying on the basics of children and adolescent literature as well as criteria of writing for children, the information was collected by library and indexing method, and the data was analyzed by "content analysis" and formation of a network of contents. Finally, three key lines were extracted as writing criteria for children and adolescents, namely “decoding of contents and interpretation", "fluency and fluctuation of text", "speech-like text and attention to tone". After extracting the research lines, the two translations were completely compared to the original text according to the mentioned lines, and numerous textual evidences were derived.Among the previous researches related with the present study is the paper by Hassanvandi et al. (2015) entitled "Translation of children's literature from the perspective of Skopos paradigm and balance theory: case study of The Little Prince", which examines three Persian translations of The Little Prince novella in the light of Skopos and balance theories. The noteworthy point in this paper is that the mentioned query in comparison section has only studied lexical translations and the use of verbal or eloquent language. However, in translating children's literature, purposefulness is not limited to the use of words, and includes topics such as decoding, demystification, localization of character names, content censorship, translation of literary proverbs and stylistic devices, tone, style as well as other technical and cultural issues.

In comparative analysis of the collection of stories titled "Ghesas-ol Hayavan fil Quran-alkarim" and its Persian translations, based on Skopos theory, we found that as the translator gets closer to the purposefulness principle, his translation becomes more fluent and understandable for the child. With respect to decoding and interpretation, the success rate of the translators of this collection is different. In some cases, both translators have failed to translate the text appropriate to the child's understanding due to their adherence to the content of source text. Obviously, in this regard, the translation by Rahmandoust is more consistent with purposefulness theory due to omissions and additions, the use of punctuation marks and patterns to which the child's mind is accustomed. Fluency and proper fluctuation in text are other criteria of purposeful translation for children and adolescents. In this regard, the translation by Rahmandoust is more successful due to the correct use of brevity and excerpts, and Hosseini's translation has lost its fluency due to the transfer of the source text’s structure; and translation of proverbs in Rahmandoust's translation has made his text more comprehensible and fluent. In line with fluent writing for children and by interpreting stylistic devices such as similes, trope and metaphors, Rahmandoust has been compelled to expand the target text, which is in agreement with the theory of purposefulness, while in Hosseini's translation, the translation has been sacrificed by word-for-word interpretation of these similes and tropes. As for the "tone", it is noteworthy that because all the stories were narrated by animals, the translators adhered to the same language of Arabic narration. The language of all stories is serious and formal, and changes in the tone of different animals have not been considered by translators. However, according to purposefulness theory, this analogous and formal tone could have been different, at least in some cases, to express the differences between the mood and temperament of animals for children and adolescents.

Since the translation of children's literature in Iran is done strategically and purposefully, Skopos theory can meet the needs of this approach. The first principle of this theory indicates purposefulness and pre-determined plan of the translator and other principles of this theory can be interpreted in the light of this purposefulness. Research findings show that adherence to the source text in translation-especially translation of children's literature- causes more ambiguity in the text for children and adolescents rather than raising their cultural level and introducing them to other cultures. Whereas in Skopos theory, the source text is somewhat set aside, and Hans Vermeer interprets this idea as dethronement, so that the source text is no longer the sole criterion for translator's translation method and strategy but a source and piece of information similar to other sources for the translator (like any other audience) who selects what he finds important, useful and sufficient for achieving goals.

The title as a contextual factor plays an important role in attracting the audience and reading the text. This component is doubly important and valuable in adolescent fiction. The title of the work must be chosen artistically in order to display the quality of the text. The importance of choosing a title for children's and adolescents' fiction is doubly important according to their needs and age conditions. Given the growth and development of cyberspace and computer games that are available to children and adolescents today, child writers must be creative in choosing the title, theme and theme of the story in order to compete with the virtual world. Encourage children to read and read stories. One of the creative tricks in attracting the audience is choosing the right title for the work. A title that encourages the child to read the story. The purpose of this study is to investigate and analyze the descriptive function of the titles of the novels of Hasti, call me Ziba and the romances of Younes in the belly of a fish based on Gerard Genet's extra-textual and intra-textual theory. The titles of these novels have been studied and analyzed based on Gerard Genet. Theory and descriptive functions (thematic, ironic, metaphorical, etc.).

Research method and research history

The research method is qualitative analysis of the content of the works and the method of collecting information is in the form of library documents. No independent research has been done on the Analysis of the titles of adolescent novels based on the descriptive functions of Gerard Genet; but there have been studies on the subject of fiction and novels that point to some of the most important issues. Absolutely Maadikhah and Namvar (2013) in his master's thesis entitled "The context of the title and the title as the threshold of the text in cinema with emphasis on the works of Abbas Kiarostami" based on Gerard Genet's views on the vision of the text, "Title And "title" of the film are introduced as types of context that play an important role in how the audience reads the text of the work. Namvar Motlagh (2009) in the article on the title of Iranian works of art and literature, a semiotic study of the title of art from the fourth to the twelfth century, with a semiotic approach, the titles of literary and architectural works of Iranian culture from the fourth century AH. He studied until the end of the Safavi period and then points to the economic role of modern titles. Salehi, Sara et al. (1398) in the article "Study of the titles of war stories in the field of children and adolescents, addressed the category of titles in terms of structure and content. The results of this study showed that the structure of titles in the 60's is simpler than combined; as we distance ourselves from the war, the titles become more artistic, and the themes of the titles pay more attention to the time of the war than to the front or nostalgia for the war.

Hasti and call me Ziba novels by Farhad Hassanzadeh and Younes's love novels in the belly of a fish by Jamshid Khanian have been selected for review. The titles of these novels have been studied and analyzed based on Gerard Genet theory. First, a summary of the novels is presented, and then the titles of the novels are analyzed based on Genet's theory and descriptive approach. According to Genet, the title of the novel has a function of identity. The title of the story includes the life of a teenage girl named Hasti. The character of the universe is present and plays a role in all scenes. From the point of view of Genet, the title of Younes's romance novel in the belly of a fish is an extra-textual title. This refers to mythical elements and characters. The subject of the novel also has a mystical and spiritual aspect. Younes' love for Sarah is a guiding and transcendental love. In terms of Gerard's descriptive functions, the title of the novel Call Me Ziba is a thematic title. "Thematic titles that represent the theme and are presented in different ways" (Zhou, 1394: 4). The title of the novel indicates the situation of people who have been neglected due to mental illness and now frustrated and helpless; they seek a way out of this situation.

The study and analysis of the titles of adolescent novels based on Gerard Genet. perimeter theory and different functions of the title (descriptive, identity, absorption, etc.) showed that the artistic choice of the title has a great effect on encouraging the audience to read the text and story. Among the works reviewed, Younes's romance novel in Fish Belly, based on Genet's theory, has an extra-textual title and a thematic function. An extra-textual title is a title that also refers to the world outside the text and leaves the understanding of part of the message of the story to the background of the audience's mind. The words of Younes and the belly of the fish are reminiscent of the story of Younes for the audience. While the story of the novel is a narrative of spiritual and transcendental love, the symbolism of Younes' character, his symbolic death and his departure from the belly of the fish, which symbolizes the dark and material world, have revealed the extra-textual aspects of the work. The title of this novel, unlike the other two novels, has other functions such as absorption and metaphorical function. The title of the novel is a title of identity. Identity card shows the work and identity of the fictional character.