پژوهشنامه نقد ادبی و بلاغت
سال سیزدهم شماره 3 (پیاپی 35، پاییز 1403)

Language is the door of entering facts into the human mind and is a socio-cultural phenomenon. Each language encodes and reflects the realities and phenomena of the outside world in a system of signs in a special style. The Holy Qur'an is a divine miracle and a linguistic text, and it was revealed in the "language of the people", it is not exempt from this general rule. This article, with a descriptive-analytical method, has investigated the evolution in the meanings of some Quranic words and tried to answer the question of how the Holy Quran has used those environmental structures in the service of creating sublime and lasting concepts. The result obtained from the research shows that the Qur'anic text, with a beautiful tenderness and appropriate to the mentality of the audience, deals with the educational-educational conceptualization of the phenomena of the general culture of the society of the decline and them in the direction of explaining and promoting the worldview and religious education. has been used and this change of use in environmental structures gives a deep meaning to the concept of the revelation of the Qur'an in the language of the people and it shows that the Holy Qur'an is not only in the spoken language of the Arab people, but also in the language of their culture and based on The bed of their customary and social ramparts has been revealed and created a concept.

Children fiction’s writers have their own standards and criteria. Researchers and critics in the field of children's literature also provide reviews and standards.Meanwhile, there is no comprehensive and targeted study that can give specific criteria and structural and content components for children's literature.The current research aims to extract "structural and content components and criteria of children's literature" for the age group of 12 to 18 years children.This study was conducted using a systematic review method and carried out by searching for articles based on these keywords "Fictional Literature", "Juvenile Literature", "Children's Literature", "Structure", "Content" and "component" in several scientific databases: Noormagz, Magiran, Ensani, ISC, the University of Tehran’s Scientific Journals database and Civilica databases were conducted. The criteria and components of fiction literature for children and adolescents were extracted.By conducting a systematic review, 834 articles were extracted. During the screening process of the articles by examining the titles, abstracts, and full text of the extracted articles, finally, 8 articles were selected for the final analysis. The extracted components were divided into two main classes content and structural components. The content class was divided into three subclasses: psychological, educational skills, and teenagers' interests and tastes. The structure class was also classified into three subclasses: literary features, story type, and title, and characterization.The results of this research show that there are subtle structural and content differences between juvenile fiction and children's or adult fiction that should be taken into account when writing stories for this age group. The results, as structural and content criteria of children's literature, can be a basis for managers and decision-makers in the field of children's and adolescent literature for planning and policy-making in this area; Especially for the age group of 12 to 18 years.

Following the Muslims' invasion and consequently spreading the Arabic language and script, the Iranian Muslims in the early centuries, in some of their Arabic writings, used to account the expressions and/or sentences from (Middle- or Early Neo-) Persian, but Zoroastrians and Christians continued to use the Pahlavi script for a few centuries after, and apparently the Iranian Jews also wrote (Middle- or Early Neo-) Persian with their Hebrew-Aramaic script and all of the Iranians have not abandoned the previous writing tradition in a coordinated period of time. Here, some contemporary reflections of the linguistic neighborhood of the Pahlavi writing tradition besides the Arabic tradition have been examined and an attempt has been made to bring these reflections together for the first time in order to obtain a clearer view of this phenomenon. In this research, in particular, the writing in Persian by Muslims, the Arabic Ideograms, the Arabic loanwords, the Arabo-Islamic names rendered into Pahlavi, as well as the transformation of the Pahlavi Proper Nouns written in the Arabic or Arabo-Persian writings, based on their orthography, have been discussed. This study shows although since the beginning of the Islamic era, few Arabic words have found their way into Pahlavi literature, this process has continued and even led to the creation of few Arabic ideograms in Frahang ī Pahlawīg. Writing some words in Perso-Arabic script has led to the creation of new words, which is one of the challenges faced by Iranians both in reading past writings in Pahlavi script and transforming into Perso-Arabic script. The process of writing in Perso-Arabic script has had a special impact on Zoroastrian culture of writing, and despite the persistence in using their script from the early period onwards, the language and then in recent times, the script has also changed to Perso-Arabic.

Saadi's fame has gone beyond the borders of Iran due to the power of his pen and the impact of his speech. Researchers of Iranian writers and others have written a lot on the discovery and recognition of Saadi's pen. Narratology is one of the new literary sciences that examines narrative texts, especially stories, from the perspective of quantity and quality and how successful they are in using narrative skills, their impact on the reader, and the percentage of their ability to deliver a message to the audience and recipient of the work.In this article, three stories of Golestan Saadi are re-examined using the library, descriptive and analytical method, with the help of the rules and skills of modern storytelling. To answer this question, what is the secret of the power, beauty and perfection of Golestan stories? In this article, by re-reading and examining Saadi's stories, it is correctly proven that Saadi's intuitive and unconscious focus on how to process the narrative and his precision in the construction and presentation of the story structure, as modern story writing is looking for after centuries. The main reason for the success of Golestan's stories is their perfection, power, impact and beauty.Saadi in an extraordinary way to skills such as: how to start the story, create a knot in the longitudinal axis of the story and bring the story to the crisis and climax, and unravel the knot and bring the speech to the end, and the role of dialogue and characterization in the fullness of the story and send a message to the audience is aware.With artistic precision, he tells the story with an energetic incident that hits the reader's mind and emotions, and what will happen to him in the face of the question? It starts, and by making the necessary knots and creating questions and a sense of curiosity in the mind and soul of the audience, it brings the story to the peak of the crisis, and by unraveling the knot, it reaches its goal of sending a message to the audience.

Iran and India are two great origins of world civilization. The people of these two great countries have long interacted and traded with each other for millennia due to their ethnic kinship, common origins, similar cultural roots, and long geographical neighborhood. The beginning of the relations between the two ancient nations has remained silent among the Persian manuscripts and local histories of the subcontinent. The most important source that traces the beginning of these relations to the mythological era is the epic and eternal book Shahnameh by the famous Iranian poet Hakim Abolghasem Ferdowsi Tusi. This research is then ne necessary in order to understand such roots in other Persian works in the subcontinent.One of the rare manuscripts written in India is Taj at-Tawarikh written by Mirza Mohammad Malek al-Kottab Shirazi, who wrote his work on the history of India in 1310 AH. The book covers the history of the subcontinent from the first days until the British rule in India. It describes the historical events in the relations between the two countries. This study tries to answer the main question of what is the accuracy of the content of this work and what is the value of this text with the necessity of examining these relations from the point of view of the mentioned lithographic script and how these relations started and performed during the millennia. To achieve this goal, descriptive analytical method and book review as well as documentary and library research have been used. In general, what can be emphasized in the conclusion of this research is to clarify the value of this work in finding the roots of Iran-India relations and also to clarify the intensity of friendship and the need of the people of the two lands to continue these relations. By emphasizing these relationships, the author has shown its antiquity and value.

Dialogue logic, especially polyphonic, is the main essence of Bakhtin's thought in all her intellectual levels. He considers the logic of conversation to be the basis of human life which causes it to open new windows of conversation-based worldview in the audience's mind. This research is based on the analytical descriptive method through library note-taking, and its main purpose is to explain polyphony in Forough Farrokhzad's poetry, based on Mikhail Bakhtin's theory. The results indicate that: In order to make her voice heard better, Forough has used multiple voices in her poetry and by acknowledging the plurality of consciousnesses, she has been able to artistically bring the audience into the discourse space with her. She uses interrogative, imperative and imperative sentences in her poetry to create an interactive atmosphere. In addition, by creating contradictions and contrasts in his words, he has been able to create a unique polyphony at the level of words, in such a way that he simultaneously uses lyrical, epic, hopeful and desperate, pacifist and belligerent sounds. Next to the elements in nature, clearly observed. Also, in his poem, Forough puts a lot of emphasis on "speaking", which shows the suffocation that governs the society and the seal that prevailed on women's mouths in the patriarchal and misogynistic society of that day, and the poet intends to create this space. turn it into an interactive and conversation-oriented environment.

A self-error narrative is a type of narrative that addresses the author or poet in the text. This kind of narrative is specific to the literature of fiction, which is revealed as the hadith of the breath, and the author is addressed in the position of being one with the narrator in his various ways and motives He speaks to himself about more psychological issues. This trick was created in fiction literature under the narratives of the fluid flow of mind, but this kind of narrative has also been perfected in Persian poetry and in the pen name industry. The structure of a poem in the court of Parvin Etesami shows that the poet has addressed himself in the last bit of Bethlehem. Although this method has a very old history in Persian poetry, the purpose of this study is to examine the working dimensions of this method under the narrative of self-destruction and its motives in the Parvinian court. A review of the poetry of Parvin (Saqaid, Masnavi, and fragments) shows that the poet's self-destruction in the last bit was not simply for playing the role of the ownership of poetry in his own name، Rather, it has formed a narrative and communication network between different components of the narrative, which has led to numerous narrative structures and beyond the pen name، there are meaningful motivations behind it. The results of the present study show that self-destructive motives in Parvin's poetry are in four ways: communication with the main theme, communication with the main activist، the hadith of the ego has been manifested in the form of other forms for social relief and protest.