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1 - Analyzing Ethic Values in Samak-e-Ayyar: a Semiotic Approach
Effat Sarlak Fatemeh Seyed Ebrahimi Nejad HamidReza Shairi Ali Karimi firoozjaee

 The present research has investigated the value system of Ethics in Samak-e-Ayyar using the analytical descriptive method and relying on the semiotics approach.The main problem of the research is: what mechanisms are used for the production of EthicValues in Ayyari discourse? How Ayyari has changed the boundaries between reality and idealism that leading to changing the normal and common values to idealistic and even mythical ones? The data have been selected purposefully and based on action discourses from Samak-e-Ayyar.The results indicated that Ayyari divides the social and cultural functions and even the usual value system into extra-value types such as collectivism, myth-centric, risk acceptability, adaptability, renewability, and other pioneering values in the lifestyle of actors.   Keywords: semiotic, value system, Ethic, action discourse, ayyari.       Introduction   The oldest and most valuable book in which the value system of Ayyari discourse can be searched is the story of Samak-e-Ayyar which has been written by Faramarz Ebn Arrajani. The word “Ayyari” is derived from the Persian word “yar” (korban, 2004: 170). Semantically, Ayyari refers to the brotherhood and friendship among them (means the Ayyar). Samak-e-Ayyar forms value spaces where values enter into challenges with each other, compete, prove, or disapprove of each other, and at the end, a more valuable space is formed. This new value space or value system belongs to the Ayyari discourse. The present research seeks to find the answer to this main question: How do Ayyari action discourses produce Ethic values through which they will be able to achieve their goals? finding an answer to this question, and the mechanisms used to form the Ethic value system by the Ayyar is the goal of the present research. The hypothesis of the present research is that the Ethic value system in Ayyari produces an ideal transactional morality system which is very important in this discourse.       Research Background   Ghobadi and Nouri (2007) believed that works such as Samak-e-Ayyar and Hossein Kurd Shabestari have been influenced by Shahnameh. Qanadzadeh (2007) believed that Heroic and Ayyari discourses can be found in the culture of Iranian even before Islam and up to now, they remained a social value in different periods in different forms. Panahi (2009) has concluded that the term chivalry is rooted in the Quran and Hadith and its most important components are not seeing fairness and forgiveness. Pushneh (2012) examines the value system in ethical discourse with a semiotic approach and in a descriptive-analytical way. This study shows that the flow of meaning-making or the formation of values is dynamic and in this way, the subject passes over ordinary human beings. Alavimoghadam and Jafarpour (2013) investigated the epic narratives of Ayyarin. They also studied the historical background of chivalry and Ayyari in Samak-e-Ayyar and Darabnameh and they concluded that Ayyari is a social and moral movement whose formation dates back to the pre-Islamic Period. After Islam, it took an Islamic color. Ayyari has transformed over time and has been supported by the people of Iran and the West. Bahamani (2017) investigated the narrative and semantic features of Ayyari in AbuMuslimname based on the semiotic approach. The results showed that Ayyar changes their actions for the benefit of another one based on his logical calculation. It should be noted that these actions are done voluntarily.       Theoretical Framework    The theoretical framework of the current study is semiotics, especially the value system from the semiotic point of view. Semiotics is a combination of semantics and semiology that integrates meaning and perception to produce meaning in different formats. In the semiology tradition of structuralism, the relationship between the signifier and the signified is studied without the presence of a human agent (Shairi and Vafai 2018).   Shairi and Seyedebrahimi (2021) believed that we should tend the title of the semiotics of value so that based on it, we would be able to explain the value-oriented aspects of the actions of the actors as well as their presences. Semiotics of the value teaches us that the universe needs care, therefore to realize such care it is necessary to be an interpreter and to participate in the creation of situations that open the way to interpret the world (Shairi and Seyedebrahimi2021: 194). They also believed that three kinds of value can be found in the discourse: Linguistic, Ethical, and Aesthetic.   From Saussure's point of view value is obtained by differentiation and meaning is a product that exists between words. Saussure divides the relationships and differences between the elements of a language into two areas: syntagmatic and paradigmatic relations. Each of them creates a certain category of values based on Saussure (2001: 176-177).   Shairi (2011) believes that value can be considered as the smallest unit of meaning which is the product of the system of opposition. He considers effective factors such as dissymmetry, orientation, reversibility, and supplementary conditions for the formation of values.       Data Analysis   After analyzing the data, the following values were found in the Ayyari discourse. These features are shown in the table 1 below:   Table 1: Structural and semantic forms of Ethic values in Ayyari discourse   <div align="center"> <table class="MsoNormalTable" style="width: 347.3pt; border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-yfti-tbllook: 1184; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt; mso-border-insideh: .5pt solid windowtext; mso-border-insidev: .5pt solid windowtext;" border="1" width="463" cellspacing="0" cellpadding="0"> <tbody> <tr style="mso-yfti-irow: 0; mso-yfti-firstrow: yes; height: 17.5pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.5pt;" width="175"> Semantic form </td> <td style="width: 106.3pt; border: solid windowtext 1.0pt; border-left: none; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.5pt;" width="142"> Structural form </td> <td style="width: 109.8pt; border: solid windowtext 1.0pt; border-left: none; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.5pt;" width="146"> The values produced by Samak </td> </tr> <tr style="mso-yfti-irow: 1; height: 24.1pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.1pt;" width="175"> Collectivism- respect for the others </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.1pt;" width="142"> Partnership Additive </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.1pt;" width="146"> we-centered instead of I-centered/ Reversibility </td> </tr> <tr style="mso-yfti-irow: 2; height: 58.85pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 58.85pt;" width="175"> Creating a new perspective-collective wisdom, Dedication, self-sacrifice for serving the society, and collectivism </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 58.85pt;" width="142"> Inaugural Multifaceted (Chivalry such as-other courage, thought, empowerment) </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 58.85pt;" width="146"> Generalizability value permeability value/ Risk-taking value/ pioneer value </td> </tr> <tr style="mso-yfti-irow: 3; height: 17.85pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.85pt;" width="175"> Expansion-supra ideational </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.85pt;" width="142"> Multifaceted (Respect, greatness, thought) </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 17.85pt;" width="146"> Myth-centered value </td> </tr> <tr style="mso-yfti-irow: 4; height: 24.15pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.15pt;" width="175"> Guarantee of action- Continuation of action </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.15pt;" width="142"> Belief certainty birth </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 24.15pt;" width="146"> Elevation- oriented/ oath to Superior force- centered (God)/ renewable value </td> </tr> <tr style="mso-yfti-irow: 5; height: 23.25pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 23.25pt;" width="175"> Achieving the goal and fixing the defect </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 23.25pt;" width="142"> Thought-oriented </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 23.25pt;" width="146"> Value of wisdom and prudence </td> </tr> <tr style="mso-yfti-irow: 6; mso-yfti-lastrow: yes; height: 30.85pt;"> <td style="width: 131.2pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 30.85pt;" width="175"> Righteousness- Alignment with thought and honesty </td> <td style="width: 106.3pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 30.85pt;" width="142"> The sameness of the power relationship/ Conformity of words and actions </td> <td style="width: 109.8pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; height: 30.85pt;" width="146"> The value of justice, chivalry, honesty, and trustworthiness </td> </tr> </tbody> </table> </div>       Conclusion   This research was looking for an answer to the question of which mechanisms are used to produce the Ethic value system in Ayyari discourse. For this purpose, after examining the active discourses of Samak-e-Ayyar it was shown that the value system in Ayyari first of all is something cultural that can be spread in society. Meta-values are formed by Ayyari discourse such as chivalry and gallantry. Ethics does not forget the cultural perspective and draws a vision for itself according to the cultural accumulations to lead to idealization. Risk-taking is among the value criteria in the discourse that Ethics produces in Ayyari. In the inner layers of the discourse, there are many social and cultural themes such as pioneering, risk-taking, trustworthiness, myth-centered, penetration and wisdom, merit of justice, and truthfulness.       Keywords: semantic sign, value system, Ethique, action discourse, ayyari.       References   Afshari, Mehran (2015) Obituaries and Khaksarieh’s treatise (30 years), Tehran Cheshmeh publishing.   Alavimoghadam, Mahyar, and Milad Jafarpour (2013) the theme of ayari and chivalry and its inductive educational teaching in the textual epics of Persian literature, fifth volume, number 3, PP. 13-36 University of Esfahan.   Al-rrajani faramarz ebn Abdullah al-katib (1984) Samak-e-Ayyar, volume (1-5) Introduction and Correction: Parviz Natel Khanlari, Tehran, publications of Iran culture foundation.   Babak, Moein, Morteza (2014) meaning as a lived experience Tehran Sokhan.   Bahar, Mehrdad (2014) Ancient sports of Iran and its roots, year 1, number 2, p 140.   Bahmani, Kobra (2016) Narrative analysis of ayyaran and presentation of its semantic model based on abu Muslim nameh” two. Narratology Quarterly, year 1, number 1, PP. 27-50.   Ferdinand, de Sussour (2001) Basics of constructivism in linguistics translated by Koresh Safavi in constructivism, post-structuralism and literary studies by Farzansojodi, Tehran, art department.   Fontanille, J (2008) Pratique et éthique: la théorie du lien, Protée, 36(2), 11- 26.&rlm;   Fontanille, J & Zilberberg, C (1998) Tension and signification, Sprimont- Belgique, Pierre Mardaga.&rlm;   Greimas, A, J (1987) De l’imperfection (Périgueux: PierreFanlac) Trad: Raúl Dorra, De la imperfección.&rlm;   Landowski, E (2004) Passions sans nom: essais de socio- semiotique III, Presses universitaires de France   Levinas, S, E (1994) Theorie de L'Intuition Dans La Phenomenologie de Husserl, paris, Librarie Philosophique.   Panahi, Mahin, (2008)” Chivalry, synonyms and its components in mystical texts” Literature research journal, number 4, pp21-220.   Pushneh, Athena (2012) Value system in ethic discourse based on the story of “dar khame rah”. the second. conference national literary criticism with the semiotic approach, Tarbiat Modares.   Qanadzadeh, Siddique (2007) investigation of ayari ritual in the history of Iran, teaching and learning researches. 2, number 7, consecutive 7, PP. 1-16.   Qobadi, Hosseinali and Ali Nouri (2007) “The effect of ferdowsi’s shahnameh on ayyari literature”. Persian language and literature quarterly of the former publication of Tabriz University faculty of literature in 1971 spring and summer 2007, no, 201, PP. 63-96.   Saki, mohammadreza and Reza Komasi (2014) comparative study of ayyari religion in Iran and chivalry in the West. Comparative literature studies. number 32, year 8, PP. 79-96.    Shairi, Hamidreza (2006) Semantic analysis of discourse, Tehran, samt publication.   Shairi, Hamidreza & Taraneh Vafaei (2009) Phoenix, a way to the sign of fluid semantics, Tehran company scientific and cultural publication.   Shairi, Hamidreza & Fatemeh Seyed Ebrahimi (2021) criticism of the translation of the semiotics book, from Hard Semiotics to soft anthropological signs, a critical research paper on humanities texts and programs of the year 21st number one. PP. 177-199.   Manuscript profile
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2 - Etiquette Guides in the Qajar Era
MOHAMMAD REZA HAJI AGHA BABAEI Faezeh Saadati Masroor

 In this study, research data was purposefully gathered through documentary research. While comprehensive statistics on Qajar-era etiquette guides are unavailable, library research and manuscript catalogs yielded forty etiquette guides within the study's scope, analyzed descriptively and analytically.     Introduction  The Qajar period (1797-1925 AD) is considered one of the most turbulent eras in Iranian history. Despite political instability and the inefficacy of rulers and many government officials, from the mid-Qajar era onwards, this period witnessed remarkable cultural and social transformations. Iranians' exposure to the West and their efforts to learn new sciences and modern elements gradually transformed Iran from a backward nation, mired in ignorance and superstition, into a country on the path to development and progress. Nevertheless, various internal and external factors posed numerous challenges, hindering significant progress in this developmental trajectory. From the mid-Qajar era, a spirit of innovation became apparent in various fields. The Naser al-Din Shah era and subsequent periods saw a clash between traditionalists and modernists, with different segments of Iranian society striving to expand new sciences and introduce fresh perspectives.   The mid-Qajar period also marked a growing interest in instructional literature, especially in the writing of etiquette guides. These texts provided educational content on subjects such as individual and social lifestyle, vocational training, various games and entertainment, and more. An etiquette guide is a broad term for instructional texts that offer practical teachings in various aspects of personal and social life, aiming to equip individuals with the necessary skills for social participation.   Research Background  due to the importance of the issue of Etiquette Guides in the Qajar era, so far there has been little research in this field, only some of the species have been studied in research with a historical approach.  Qayyoomi (2007) in this study, at the beginning of the study, the exact definition of literature and language has been studied. Torabi Farsani and Qandi (2015) in this study, the impact of Etiquette Guides in the Qajar Era on social narrative has been studied and the Persian language with its diversity of themes and traditions that address the life and social customs of each era are important historical sources. Iranpour (2019) Training funds have examined the etiquette and motivation of writing them. Torkamani azar (2020) in this study, the author has examined the historical texts of the sixth century in iran up to the sixth century and the result of this research is that kings and kings need knowledge and soldiers to collect and arrange and arrange. ~ ~ ~ with the passage of time and the advancement of knowledge and technology, the physical tools of war have become more modern and the battlefield has changed.       Problem definition  The primary audience for these etiquette guides was generally men, kings, princes, and notable social figures.However, from the mid-Qajar period onwards, especially after the Constitutional Revolution, there was a noticeable shift in the intended audience of these texts.Many authors recognized the importance of focusing on the education of women and children to bring about cultural and social changes.Consequently, the number of etiquette guides written for adolescents and women increased significantly after the Constitutional Revolution, with various works emerging in different fields.       Conclusion  The language and prose of Qajar-era etiquette guides initially exhibited a moderately difficult style, occasionally displaying ostentation through the use of Arabic phrases or complex poetry and vocabulary.Nevertheless, compared to other texts of the period, the prose of these guides was relatively simpler.With the expansion of translated texts and the rise of journalism, the prose of etiquette guides also moved towards simplicity, making them more accessible to the audience.  The structure of etiquette guides also evolved with social transformations.Traditionally, these guides began with a preface praising God, the Prophet Muhammad, and often included encomiums for the king or governmental officials, dedicating the work to them before delving into the main subject.Gradually, especially after the Constitutional Revolution, changes in political and social dynamics led to structural transformations in some etiquette guides.Authors began to abandon traditional structures, directly presenting their teachings in simple language, reflecting a shift in societal attitudes.  Qajar-era etiquette guides were named in three primary ways.Many were titled based on their content and themes.Some authors named their works in honor of a king or another individual to whom the book was dedicated or based on its content.Others chose literary or metaphorical titles, with some even opting for humorous names.  The motivations behind authoring etiquette guides varied.Some writers aimed to address the general needs of the audience, while others wrote at the request of a specific individual.Some authors intended to pass on their knowledge and lived experiences to their children and grandchildren, thus creating these guides.Others wrote to impart specific skills, believing their audience lacked awareness in these areas.Some authors aimed to enlighten people and eradicate ignorance, while others wrote to critique and protest certain societal behaviors, reflecting a critical  stance towards social issues and prevalent superstitions.   Keywords: Literary Genre; Etiquette Guides; Qajar Prose.    References   Ajudani, Mashallah (2006) Or death or modernity, third ed, Tehran, Akhtaran.   Amir Aslan (1886) A Man and a Man's Manners, manuscript, National Library, retrieval number: 5-12301.   Anonymous (1889) General rules: for the exercises and movements of the government's infantry against Iran, lithography, National Library.Recovery number: 12657-6.   ------------- (1925) Ta’dib al-Naswan, lithograph, National Library, retrieval number: 6-6161.   ------------- (1969) Jame al-Sana'ye: Cookbook from the Qajar era, corrected and revised by Iraj Afshar, Tehran, written heritage.    ------------- (n.d) The Game of Chess, manuscript, National Library, retrieval number: 5-18655.   ------------- (18th century) Baker's treatise, manuscript, National Library, retrieval number: 13866/2.    ------------- (2016) Cooking science 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3 - The Integrity of Elements in Persian Poetry and Its Impact on the Flourishing of Poetry
mohammad hasan arjmandifar Bijan Zahirinav

  This research has been conducted in a descriptive-analytical manner based on library studies.With an introduction regarding the role of the unity of poetic elements, referred to with terms such as unity, coherence, and vertical axis, we will gradually accompany the formation of a ghazal to propose a method for the unity of elements in Persian poetry.This approach will help us answer the question (hypothesis) of whether maintaining the unity of poetic elements contributes to the flourishing of poetry, using the eight criteria outlined in this study.    Introduction Every structure is composed of components whose arrangement and selection significantly determine its quality.The better these parts are understood and precisely positioned alongside one another, fostering greater harmony between them, the higher the quality of the structure and its performance."Art is the effort to find harmony" (Ahmadi, 2001: 213), and harmony emerges from unity.Within this context, literature—specifically, "poetry is one of the fine arts, and the essence of poetry is beauty.According to scholars, fine arts and artistic beauty are interdependent.Fine arts require elements such as unity, harmony, repetition, balance, proportion, and similar factors to achieve immortality" (Sahraei and Golshani, 2013: 98-99)."Aristotle also sees harmony as a factor of unity and one of the characteristics of the beautiful" (Zarrin-Koub, 1978: 104).Therefore, "a good poem, despite its simplicity, is such a composition that its elements are so interconnected and harmonious that if there is a flaw in any one of the parts, it distances the entire piece from success and perfection" (Akvan Salas, 1997: 202).Thus, the components of poetry must be appropriately knowledgeable and suitably arranged together to create an impactful and enduring poem."If a poem is to be alive, its components must be connected and structured with the same precision and delicacy as the parts of a tree are intertwined.It should be an organism in which each component serves a useful purpose, collaborating with other elements to sustain and elucidate the vitality it contributes" (Parin, 1997: 21).Humanity's appreciation and admiration for harmony stem from our nature.As a part of nature, humans have observed and learned the first signs of harmony within it; having seen the spirit of harmony in nature's components, we are innately inclined toward unity and cohesion in any structure.In their artistic creation (poetry), the poet also reflects on the harmony borrowed from nature.Consequently, the components of poetry, despite their dispersion, require organization, a system, and ultimately, a purpose-driven unity, to form a robust structure and better express the poem’s meaning; otherwise, "they will be deprived of imagination, influence, registration, and conveying the core objective" (Akvan Salas, 1997: 202).Given the importance of the integration of poetic elements in both poetry criticism and composition, a framework for the unity of elements in Persian poetry is presented using eight criteria.   Research Background  The topic of "the integration of poetic elements" is referred to with titles such as "vertical and horizontal axes of poetry, " "structural unity in poetry, " or "cohesion in poetry." Ghasem Sahraei and Shahab Golshani, in their article "Unity and Cohesion in the Poetry of Shafiei Kadkani" (2013), consider the principle of unity to be the most important element of aesthetic appreciation in Shafiei Kadkani's poems, identifying the factors that create unity in his poetry as thematic unity, harmony of components, evolution and gradual progression, and proportion and repetition.   Mohammad Ismail Dehqan Tozarjani and Hassan Zolqari, in their article "Examining Grammatical and Lexical Cohesion Elements in Popular Poetry, " based on Halliday and Hasan's theory of grammatical and lexical cohesion, evaluate the degree of cohesion in popular poetry as high, listing repetition and ellipsis as fundamental elements in creating cohesion in this genre.  Nahid Tehrani Sabzeh also argues in her article "Factors of Lexical Cohesion in Modern Poetry" that literary techniques can serve not only to create music and enrich meaning but also to ensure the cohesion of poetry and the formation of a text.  Morteza Mohseni and Mahdi Sarahati Joibari, in their article "The Vertical Axis of Imagination in the Poems of Nasir Khusrow" (2021), state that the strength of the vertical axis in Nasir Khusrow's works is the key to distinguishing and elevating his poetry compared to that of his contemporaries.  Ahmad Konjoori, Ali Noori, Mohammad Reza Roozbeh, and Ali Heydari, in their article "Types of Allusion Design and Expansion in the Vertical Axis of Simin Behbahani's Ghazals" (2019), highlight the innovative nature of Simin Behbahani's allusions in her ghazals, asserting that the scope of these allusions transcends the horizontal axis and enters the vertical axis of her poetry.  Mohammad Jafar Yahqi and Mohammad Hadi Fallahi, in their article "Textual Cohesion in the Ghazals of Saadi and Bidel Dehlavi: A Study and Comparison of Ten Ghazals Each, " apply Halliday Hassan's method of textual cohesion analysis to examine and compare the textual cohesion in ten ghazals by Saadi and Bidel, concluding that "the more cohesive and coherent a text is, the more understandable and accessible it becomes.Saadi’s ghazals, benefiting from more cohesive elements and shorter sentences, are easier to comprehend" (Yahqi and Fallahi, 2010: 339).   Monijeh Abdollahi, in her article "Vertical Connection and Spiritual Cohesion in Hafez's Ghazals, " attempts to "provide practical criteria regarding the overall cohesion of Hafez's ghazals by utilizing the theory of composition and juxtaposition proposed by structuralists" (Abdollahi, 2017: 94).   Masoud Alagoneh Jonaghani, in his article "Analysis of Textual Cohesion in a Ghazal by Hafez Based on the Simple Structure Approach, " investigates the structural cohesion of a ghazal by Hafez using a systemic-functional linguistic approach (Alagoneh Jonaghani, 2016: 265).Taher Ishani, in the article "Comparative Analysis of Cohesion Factors in Two Ghazals by Hafez and Saadi and Its Impact on Textual Cohesion, "concludes that "the greater cohesion in Saadi's ghazal compared to Hafez's is rooted in the types of cohesion factors employed in the text," based on Halliday and Hasan's theory of cohesion (Ishani, 2014: 10).Ali Akbar Shiri Zadeh, in the article "Cohesion Factors in Persian Language, " states that "based on the conducted research, sufficient and appropriate use of cohesion markers simplifies the text and enhances its understanding" (Shiri Zadeh, 2003: 10).   n her article "Cohesion and Coherence in Persian Language," Giti Taki defines cohesion as the internal coherence of the text, or "the inter-sentential relationships within a text that, in the Persian language, are established through factors such as connective words, semantic relationships or lexical ties, reference, substitution, comparison, and repetition" (Taki, 1999: 129).She defines coherence as "the interpretation and explanation of the text considering external conditions and social contexts" (same source) and further elaborates on these concepts.   Mohammad Khamagar, in his article “The Effectiveness of Halliday's Theory in Mapping the Textual Cohesion of the Quranic Surahs, ” concludes that "this theory is insufficient for analyzing all dimensions of textual cohesion and that utilizing role-based cohesive factors only elucidates the linear relationship of sentences within a text" (same source).   Theoretical Framework  The theoretical framework of the present research introduces eight metrics that promote the coherence and unity of poetic elements, leading to the flourishing of poetry.These metrics are as follows:   Musical Unity: This includes the unity of external music (meter) and the unity of adjacent music (rhyme and refrain).The poet must first maintain consistent meter across all verses and adhere to the rules of rhyme and refrain.   Thematic Unity: Observing "thematic unity" requires the poet to remain within the thematic boundaries they have chosen.For instance, if a poem addresses the love of God, the poet should not stray from this primary theme.   Pronominal Unity: Typically, poets adopt one of the narrative styles: the first-person narrator, the second-person narrator, or the third-person poet.Consequently, if the poet is in the first person, they cannot abruptly switch to the second person in subsequent verses.   Logical Unity: Although "imagination is the essence and fixed element of poetry" (Shafiei-Kadkani, 1996: 18) and "poetry celebrates a unique occurrence within a culture, a language, and the way a person uses their language" (Schools, 2004: 95), it should not be forgotten that poetic imagination has its logic.The adherence to logic must be maintained both at the level of individual couplets and in the overall structure and length of the poem; in other words, a poem, despite being imaginative, should not lack reason.   Lexical Cohesion: The word is the cornerstone of prose and poetry."When a poet selects a word for use in their poem, they activate a set of possibilities that fundamentally differs from what we use in everyday speech." (Schoolz, 2004: 52) Therefore, the word has a more specific role in poetry, and the careful placement of words elevates the poem, while careless selection disrupts its cohesiveness.   Temporal Cohesion: Temporal cohesion refers to the consistency of verb tenses both horizontally (in each couplet) and vertically (across the entire poem).In horizontal temporal cohesion, the tense of verbs in each couplet and throughout the poem must have a logical relationship with each other.   Stylistic Cohesion: Just as archaeologists deduce the approximate age of ancient artifacts based on certain indicators, literary scholars, by observing specific words and grammatical details in texts, infer the approximate time of writing or composing the text and, more importantly, its style.Thus, some grammatical and lexical markers are indicative of specific stylistic periods.For instance, the use of certain forms predominantly in the Khorasani style and occasionally in the Iraqi style, at the beginning of continuous verbs, has no place in contemporary poetry and prose.It is not that these forms cannot be utilized, but their use is no longer common or acceptable.Using "hamī" instead of "mī" in today's poetry is like wearing clothes from the 8th century AH on the streets of today’s society.   Narrative Coherence: The narrative coherence of poetry refers to the carefully arranged verses that serve the quasi-narrative structure of the work.This may be what strengthens the vertical axis in epics like the Shahnameh, such that "the Shahnameh not only surpasses the poetry of its contemporary and later periods regarding its vertical axis, but it is also incomparable with any of them." (Shafiei Kadkani, 1996: 458) This strength is also found in the vertical axis of the Masnavi-i Ma'navi and the Khamsa of Nizami Ganjavi.       Data Analysis   Adhering to the integrity of poetic elements -based on the criteria discussed in this article- will contribute to the impact and clarity of poetry.Although creating art and composing poetry is an intuitive process, it is not devoid of structure and rules.Many artists have started their creative endeavors with their "conscious mind" and gradually rooted it in their "unconscious mind." Therefore, following these rules during poetry composition is a necessary condition for achieving good and well-measured poetry, but it is not sufficient.This is where the weight of meaning, especially in poetry, is keenly felt.On the other hand, a meaningful poem that lacks structure does not lead to the desired essence and does not bring the ship of poetry to the shore of success.Would we still regard the poems of Rumi in the Masnavi -as they are currently- filled with deficiencies in meter, rhyme, and structure as outstanding and sublime poetry? Thus, meaning and structure are two wings for the flight and elevation of poetry, each of which, without the other, does not lead to perfection and flourishing in poetry.Given the inspirational and internal nature of poetic expression in the poet's mind, and accepting the notion that the spiritual quality of poetry cannot be measured or subjected to fixed rules, the greater the harmony of internal and external elements in poetry and the better the integrity of poetic elements is observed, the more one can hope for the impact and clarity of the poetry.An example of this assertion is the adherence to various forms of integrity of poetic elements in the works of great poets like Saadi, Hafez, Rumi, and Ferdowsi, where it is rare to find instances of inconsistency in their poetry.In conclusion, while proposing a framework for measuring the integrity of Persian poetic elements, we conclude that adhering to the integrity of poetic elements has a positive effect on the impact and clarity of poetry.       Keywords: Coherence, Unity, Vertical Axis, Coherence, Poetry.               References   Abdollahi, Manijeh (2017) Vertical Connection and Spiritual Cohesion in Hafez's Ghazals, Hafez Research, Volume 20, pp.91-107.   Ahmad, Babak (2001) Truth and Beauty, 5th ed., Tehran: Markaz.   Akhavan Thaleth, Mehdi (1997) The Innovations and Creations of Nima Yushij, 3rd ed., Tehran: Zamestan.   Akhvat, Ahmad (2003) Structure and Interpretation of Text, Vol.2, 2nd ed., Tehran: Markaz.   Aligone Jonaghani, Masoud (2016) Analysis of Textual Cohesion in a Ghazal by Hafez Based on the Basic Structure, Bi-monthly Journal of Linguistic Studies, No.35, pp.265-290.   Arjmandi, Mohammad Hassan (2021) Confessions, Tehran: Arj Book.   ---------------------------------- (2014) A Little Bit Wetter, Tehran: Maya.   ---------------------------------- (2022) With You, Tehran: Arj Book.   Dad, Seema (2004) Dictionary of Literary Terms, Tehran: Morwared.   Dargahi, Mahmoud (2004) The Role of Meaning in the Stylistics of Persian Poetry, Journal of the Faculty of Literature and Humanities, University of Tabriz, No.193, pp.35-54.   Dehqan Tazrājāni, Mohammad Esmail, and Zolfaqari, Hassan (2020) Examination of Grammatical and Lexical Cohesion Elements in Folk Poetry, Iranian Popular Culture, No.63, pp.41-64.   Ditcher, David (1994) Methods of Literary Criticism, translated by Mohammad Taghi Sedghiari and Dr.Gholamhossein Yousefi, 4th ed., Tehran: Elmiy.   Emami, Nasrollah (1998) Foundations and Methods of Literary Criticism, Tehran: Jami.   Eshani, Taher (2014) A Comparative Analysis of Cohesion Factors in Two Ghazals by Hafez and Saadi and Its Impact on Text Cohesion, Research Journal, Vol.6, No.10, pp.10-35.   Khadem al-Resoul, Hassan Reza; Giti Forouzan, Ali Mohammad (2015) Analysis and Examination of the Motivations behind Poetic Creation, Quarterly Journal of Literary Aesthetics, No.24, pp.82-107.   Kalar, Jonathan (2003) Literary Theory, Translated by Farzaneh Taheri, 1st edition, Tehran: Markaz.   Kanjuri, Ahmad, Noori, Ali, Roozbeh, Mohammad Reza, and Heydari, Ali (2019) Types of Allusion and Development in the Vertical Axis of Simin Behbahani's Modern Ghazals, Journal of Persian Language and Literature, issue 87, pp.203-226.   Khamehgar, Mohammad (2018) The Effectiveness of Halliday's Theory in Depicting Textual Cohesion in Quranic Surahs, Quarterly Journal of Quranic Research, No.86, pp.4-29.   Majd, Omid (2010) A Fresh Look at Nima's Place in Modern Poetry, Journal of Stylistics in Persian Prose and Verse (Spring Literature), issue 8, pp.77-94.   Makarik, Irna Rima (2006) Encyclopedia of Contemporary Literary Theories, Translated by Mehran Mohajer and Mohammad Nabavi, Agah: Tehran.   Mohseni, Morteza and Sarahti Joibari, Mehdi (2014) The Vertical Axis of Imagination in Nasir Khusraw's Poems, Literary Essays, issue 184, pp.125-151.   Perrine, Lawrence (1997) About Poetry, translated by Fatemeh Raqei, 2nd ed., Tehran: Etela'at.   Pournamdarian, Taghi (2002) Journey in the Mist, Tehran: Negah.   Propp, Vladimir (1989) Morphology of Fairytales, translated by Fereydoun Badreyi, Tehran: Tous Publications.   Rudaki Samarqandi, Abu Abdullah Jafar ibn Muhammad (1997) Divan of Rudaki Samarqandi, 2nd edition, Tehran: Negah.   Sahraei, Qasem and Golshani, Shahab (2013) Unity and Cohesion in the Poetry of Shafiei Kadkani, Contemporary Persian Literature, issue 1, pp.97-116.   Schools, Robert (2004) An Introduction to Structuralism in Literature, translated by Farzaneh Taheri, 2nd ed., Tehran: Agah.   Shafiei Kadkani, Mohammad Reza (1996) The Imagery in Persian Poetry, 6th edition, Tehran: Agah.   -------------------------------------- (2012) The Music of Poetry, 13th edition, Tehran: Agah.   Shamisa, Cyrus (2004) Literary Criticism, 4th edition, Tehran: Ferdows.   Shiri Zadeh, Ali Akbar (2003) Cohesion Factors in Persian Language, Growth of Persian Language and Literature Education, issue 68, pp.9-15.   Taherani Sabet, Nahid (2020) Cohesion Elements in Modern Poetry, Journal of Applied Rhetoric and Rhetorical Critique, issue 9, pp.123-135.   Taki, Giti (1999) Continuity and Cohesion in Persian Text, Journal of Humanities, University of Sistan and Baluchestan, No.8, pp.129-140.   Todorov, Tzvetan (2019) Structuralist Poetics, translated by Mohammad Nabavi, 6th ed., Tehran: Agah.   Yahaghi, Mohammad Jafar and Fallahi, Mohammad Hadi (2010) Textual Cohesion in Saadi and Bidil Dehlavi's Ghazals, A Comparative Study of Ten Ghazals by Saadi and Ten by Bidil, Faculty of Literature and Human Sciences (Bahonar Kerman), issue 27, pp.328-346.   Zarinkub, Abdol Hossein (1978) Aristotle and the Art of Poetry, 1st edition, Tehran: Amir Kabir.             <span style="font-size: 12.0pt; 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4 - Metadiscourse, Interactional Metadiscourse, Interactive Metadiscourse, Houshang Moradi Kermani, Literary Genre.
Sanaz Deghat Mohammad Hossein ُُُُSharafzadeh Leila Saberi Zahra Rastegar Haghighi Shirazi

 The present research analyzes the metadiscourse markers in the works of Houshang Moradi Kermani, one of the prominent authors of children and young adult literature.It examines the trend of changes in these markers over the period from 1971 to 2021.This study, based on Hyland's (2005) model of metadiscourse, investigates the interactional and interactive metadiscourse markers in Moradi Kermani's works over five decades.The research method is descriptive-analytical, and the data were extracted using the AntConc software.Statistical analysis of the data using Kendall's test shows that over time, the use of interactional metadiscourse elements in Kermani's works has increased, while interactive elements have decreased.This trend indicates the author's effort to strengthen the connection with the reader and personalize literary texts over time.The results of this study can contribute to a better understanding of the rhetorical changes in children's and young adults' literature and show how authors in this field adapt their writing style to cultural and social changes.   Introduction   The oldest and most valuable text in which metadiscourse markers can be studied is the works of Houshang Moradi Kermani.Metadiscourse arises from the need to establish more effective communication between the author and the reader, and as such, it has become one of the important elements in text analysis.In these works, metadiscourse markers are a clear indication of how the author uses linguistic and rhetorical tools to strengthen their connection with readers and effectively convey their ideas.This research aims to answer the question of how historical and cultural changes in Moradi Kermani's works have affected the distribution and function of metadiscourse elements and how these changes have contributed to the reader-friendliness of his texts.Examining this issue can provide a new model of the author's interaction with the reader and the role of metadiscourse in improving the quality of communication in children and adolescents' literature.This research hypothesizes that Moradi Kermani's works, through the intelligent use of metadiscourse, have succeeded in creating a deeper and more effective connection with the audience.       Literature Review   Hyland and Jiang (2018) conducted a historical study on the markers of interactive and oppositional metadiscourse over fifty years in the top journals of four disciplines and found that there has been a significant increase in the frequency of oppositional metadiscourse markers and a noticeable decrease in the distribution of interactive metadiscourse markers over these fifty years in the journals.The markers of oppositional metadiscourse aim to organize and define the boundaries of the text to ensure that readers can more easily retrieve and understand the author's interpretations and objectives in the scientific discourse, and authors of scientific texts use these markers to guide their audience.   Rezaei Keramati et al. (2019) conducted a study on the markers of interactive metadiscourse in three leading journals of applied linguistics.To analyze the historical evolution of stance and engagement markers, the subcategories of interactive metadiscourse in different sections of research articles (introduction, methodology, discussion, and conclusion) were examined using Hyland's (2005b) model.The findings indicate a significant decrease in the frequency of interactive metadiscourse markers in all sections of the articles.This decrease is generally related to the reduction of stance markers in the conclusion and methodology sections.As previously mentioned, the scope of this research pertains to the analysis of scientific texts (research articles) and does not include literary genres or stories.   Bagheri (2020) conducted a study on the historical evolution of interactive and oppositional metadiscourse markers in doctoral dissertations in the fields of hard sciences and soft sciences over three time periods: 1966, 1986, and 2016, based on Hyland's (2005) theory.The findings show that interactive metadiscourse (stance and engagement) has decreased in soft sciences and increased in hard sciences.This indicates that in soft sciences, academic writing is moving towards neutrality, impartiality, and greater responsibility towards the reader, i.e., more reader-oriented and less persuasive, and in hard sciences, scientific discourse is moving towards greater persuasiveness and reader-friendliness.This research also focuses on scientific discourse (doctoral dissertations) and does not include literary genres or stories.   Liu and Yang (2021) conducted a study based on Hyland's model to examine interactive and oppositional metadiscourse in 240 research articles in hard sciences (mechanical engineering and physics) and soft sciences (education and history) over sixty years.They found that metadiscourse markers have generally shown a declining trend over time.This has been accompanied by a noticeable increase in oppositional markers and a significant decrease in interactive markers, indicating that authors in scientific texts tend to use more oppositional metadiscourse and less interactive metadiscourse over time to write clearer and more convincing texts and adopt a more objective and scientific approach.This study, like previous research, pertains to the analysis of research articles and scientific texts.       Theoretical Framework   The term metadiscourse was first introduced by Harris (1959), referring to the author's or speaker's efforts to ensure the audience's understanding of the spoken text.Metadiscourse serves as an important tool for facilitating communication, supporting the author's position, and engaging the reader (see Hyland, 2015).To analyze the metadiscourse elements in the scope of this research, Hyland's (2005) theory was used because his classification is new, clear, and comprehensive (see Abdi et al., 2010).As shown in Table 1, this theory has two dimensions: interactional and interactive.       Table 1 - Subcategories of Interactional and   interactive Metadiscourse       <div align="center"> <table class="MsoNormalTable" dir="rtl" style="border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-yfti-tbllook: 1184; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt; mso-table-dir: bidi; mso-border-insideh: .5pt solid windowtext; mso-border-insidev: .5pt solid windowtext;" border="1" cellspacing="0" cellpadding="0"> <tbody> <tr style="mso-yfti-irow: 0; mso-yfti-firstrow: yes;"> <td style="width: 235.5pt; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" colspan="2" width="314"> Metadiscourse </td> </tr> <tr style="mso-yfti-irow: 1;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Interactional </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Interactive </td> </tr> <tr style="mso-yfti-irow: 2;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Attributes </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Stance markers </td> </tr> <tr style="mso-yfti-irow: 3;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Hedges </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Endophoric markers </td> </tr> <tr style="mso-yfti-irow: 4;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Boosters </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Frame markers </td> </tr> <tr style="mso-yfti-irow: 5;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Engagement markers </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Evidentials </td> </tr> <tr style="mso-yfti-irow: 6; mso-yfti-lastrow: yes;"> <td style="width: 114.35pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="152"> Self-mentions </td> <td style="width: 121.15pt; border-top: none; border-left: solid windowtext 1.0pt; border-bottom: solid windowtext 1.0pt; border-right: none; mso-border-top-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="162"> Transitions </td> </tr> </tbody> </table> </div>       Markers of interactive metadiscourse are used to organize the information present in the text and guide the reader through it.On the other hand, markers of interactional metadiscourse are used to engage with the reader and involve them in the text (see Hyland, 2005).Each of the subcategories of interactive and interactional metadiscourse markers, briefly displayed in Table 2, has its specific function.       Table 2 - Hyland's (2005) Theory   <div align="center"> <table class="MsoNormalTable" style="margin-left: 53.15pt; border-collapse: collapse; mso-table-layout-alt: fixed; border: none; mso-border-alt: solid windowtext .5pt; mso-yfti-tbllook: 1184; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt; mso-border-insideh: .5pt solid windowtext; mso-border-insidev: .5pt solid windowtext;" border="1" width="459" cellspacing="0" cellpadding="0"> <tbody> <tr style="mso-yfti-irow: 0; mso-yfti-firstrow: yes;"> <td style="width: 95.05pt; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="127"> Types of Metadiscourse </td> <td style="width: 82.15pt; border: solid windowtext 1.0pt; border-left: none; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Classification </td> <td style="width: 88.75pt; border: solid windowtext 1.0pt; border-left: none; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Function </td> <td style="width: 78.4pt; border: solid windowtext 1.0pt; border-left: none; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> Example </td> </tr> <tr style="mso-yfti-irow: 1;"> <td style="width: 95.05pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" rowspan="5" width="127"> Interactional metadiscourse Establishing an effective connection with the reader </td> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Attitude markers </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Author's attitude towards the text </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> Agree, very important, with surprise </td> </tr> <tr style="mso-yfti-irow: 2;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Self-mentions </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Explicit reference to the author's presence </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> Author, I, we, researcher </td> </tr> <tr style="mso-yfti-irow: 3;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Engagement markers </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Addressing the reader explicitly </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> You, pay attention, assume </td> </tr> <tr style="mso-yfti-irow: 4;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Boosters </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Indicating the speaker's degree of certainty about the statement </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> Without a doubt, certainly, clearly </td> </tr> <tr style="mso-yfti-irow: 5;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Hedges </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Indicating the author's doubt about the statement </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> Perhaps, almost, probably </td> </tr> <tr style="mso-yfti-irow: 6;"> <td style="width: 95.05pt; border: solid windowtext 1.0pt; border-top: none; mso-border-top-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" rowspan="5" width="127"> Interactive metadiscourseOrganizing information in a sentence and guiding the reader through the text   </td> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Transitions </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Connecting the sentences of the text </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> But, moreover, therefore </td> </tr> <tr style="mso-yfti-irow: 7;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Frame markers </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Defining the boundaries of the text and providing a framework for elements </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> First, second, as a result </td> </tr> <tr style="mso-yfti-irow: 8;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Endophoric markers </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Referring the reader to other parts of the text </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> In the next section, below </td> </tr> <tr style="mso-yfti-irow: 9;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Evidentials </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Referring to information provided in other texts and attribution </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> According to, as stated, as said </td> </tr> <tr style="mso-yfti-irow: 10; mso-yfti-lastrow: yes;"> <td style="width: 82.15pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="110"> Code glosses </td> <td style="width: 88.75pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="118"> Providing further explanation about the meaning </td> <td style="width: 78.4pt; border-top: none; border-left: none; border-bottom: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; mso-border-top-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt;" width="105"> First, second, as a result </td> </tr> </tbody> </table> </div>       Data Analysis   The data analysis revealed that in Houshang Moradi Kermani's children's and young adult literature from 1971 to 2021, the use of interactive metadiscourse markers increased while the use of interactional metadiscourse markers decreased.Interactive metadiscourse, which indicates the author's explicit presence and engagement with the audience, was increasingly employed over time, particularly through self-mentions and engagement markers.On the other hand, interactional markers like transitions, which help manage the flow of information in the text, were used less frequently.These changes suggest that Moradi Kermani gradually developed a stronger inclination toward creating a more personal and effective connection with his readers.       Conclusion   In this research, the role of metadiscourse in the works of Houshang Moradi Kermani in the field of children and young adult literature was examined.The results showed that Moradi Kermani extensively used metadiscourse markers, especially interactional markers, to establish an effective connection with his audience.The use of these markers has increased over time, while interactive markers have decreased.This tendency to use more interactional markers indicates the author's effort to engage the readers and create a more personal connection with them.   These findings contrast with the results of previous research in scientific discourse, which has moved towards less use of interactional metadiscourse and more use of interactive metadiscourse.       Keywords: Metadiscourse, Interactional Metadiscourse, Interactive Metadiscourse, Houshang Moradi Kermani, Literary Genre.       References   Abdi, R., Tavangar, M., & Tavakoli, M. 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(1979) Majid's stories.Tehran: Moein.   ------------------------ (1980) The carpet weaving house children.Tehran, Moein.   ------------------------ (1982) The palm tree.Tehran: Sahab.   ------------------------ (1989) The jar.Tehran: Moein.   ------------------------ (1992) Fist on skin.Tehran: Moein.   ------------------------ 1994) The oven.Tehran: Moein.   ------------------------ (1996) Mom's guest.Tehran: Ney.   ------------------------ (1998) Sweet jam.Tehran: Moein.   ------------------------ (1999) Pomegranate's smile.Tehran: Moein.   ------------------------ (2003a) Like a full moon.Tehran: Moein.   ------------------------ (2003b) Neither wet nor dry.Tehran: Moein.   ------------------------ (2007) Rice and stew.Tehran: Moein.   ------------------------ (2009) Soft pillow.Tehran: Moein.   ------------------------ (2012) Water reservoir.Tehran: Moein.   ------------------------ (2019) Teaspoon.Tehran: Moein.   Mostafavi, M.& Tajalli, G.(2012) Metadiscoursal Markers in Medical and Literary Texts.International Journal of English Linguistics.2 (3) 64.   Rezaei Keramati, S., Kuhi, D., & Saeidi, M.(2019) Cross-sectional diachronic corpus analysis of stance and engagement markers in three leading journals of applied linguistics.Journal of Modern Research in English Language Studies, 6 (2), 1-25.   Soltani, R., & Shokrpour, N.(2021) The status of metadiscourse markers use in Iranian medical articles: A comparative study.Journal of Mazandaran University of Medical Sciences, 31(196), 92-100.           Manuscript profile
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5 - A Psychological Re-Reading of the Novel "Haras" (An Explanation and Analysis of the Enduring Psychological Consequences of War in the Characters of the Novel "Haras")
DR abolfazl ghanizadeh noushin derakhshan

 The novel Haras, published in 2017 in the field of literature by NasimMarashi, portrays the years of a war-torn family's life and reflects the facets of fear and anxiety individuals face when dealing with problems such as war and the resulting grief.   After briefly mentioning the psychological consequences of war in human societies, in a descriptive-analytical way, this article firstly describes the strategies to deal with fear and stress caused by war, then the matching examples in the behavioral response of Rasul and Nawal as the two central characters of the story with the amount of damage explained the high adaptability and based on the concept of stress disorder caused by psychological blows of war to analyze strategies; It deals with coping, compromise patterns and defense mechanisms.The result of the research shows: that the novel Haras can be analyzed and explained based on coping strategies and compromise patterns as well as Freud's defense mechanisms, and how these strategies, patterns, and mechanisms are applied has a decisive role in the mental health and subsequently the fate of its hero.       Introduction   The novel "Haras" by NasimMarashi was published in 2017 under the name of Jang.It narrates the years of life affected by the war of a Khorramshahri family and reveals their style and behavior in dealing with the negative psychological consequences of the war.The consequences, if analyzed and interpreted in psychology based on coping strategies, adaptive patterns, and explanatory mechanisms, can alleviate psychological tensions in similar situations and lead to mental health and well-being.   Rasool and Naval, as the main characters of the story, are trapped by these consequences and complex and nested layers of psychological tensions.In the period after the war, Naval became pregnant to give birth to a son and fill the void of Sharhan, who was lost in the war.Incorrectly diagnosing the gender of the fetus, infant substitution, Tahani's suffocation, and the eldest daughter's mental illness add fresh and intricate psychological wounds to the scenes of the story, ultimately leading to daily conflicts and, eventually, Navaal's expulsion from the house.   In the ups and downs of the story and its various scenes, Rasoul and Naval act according to their cognitive and behavioral abilities, and the situations in which they find themselves lead them to unconsciously employ coping strategies, adaptive patterns, and defense mechanisms.   Counteracting strategies for reducing mental stress using problem-focused, emotion-focused, and avoidance approaches, adaptive patterns in two reactive approaches, practical and defensive, and defensive mechanisms in suppressing, displacement, denial, rationalization, camaraderie, bonding, and fantasy are employed.   In various scenes of the story, Rasoul uses problem-focused coping strategies and defensive mechanisms of displacement and suppression.In adaptive patterns, he utilizes practical reactive responses to reduce mental stress.Meanwhile, Naval employs incompatible emotion-focused and avoidance coping strategies, defensive mechanisms of suppression, denial, rationalization, isolation, fantasy, and physical type, and in adaptive patterns, she employs defensive reactive responses to reduce tensions.   In conclusion of the article, it is deduced that alongside post-war life, not only have the psychological damages of families not disappeared, but their depth and intensity have also increased.The positive impacts of effective coping strategies, adaptive patterns, and defensive mechanisms, as well as their negative effects, are understandable and interpretable in human life, and conscious use of them can lead to the mental health and well-being of those affected by mental injuries.       Background of the Research   In recent years, interdisciplinary research, especially in psychology and literature, has gained more attention, and many articles focusing on psychological readings of novels and poetry have been written.In line with the subject of the present article, which is based on a psychoanalytic approach centered around defense mechanisms, several studies have been conducted on other novels.Notable among these are the articles "A Freudian Reading of the Novel SuranSard" by Mahmoud AghakhaniBeizhni and colleagues (2019), "An Examination of Psychological Defense Mechanisms in the Novel The Suspended Bridge" by Zeinab Haji and colleagues (2014), "An Analysis of Psychological Defense Mechanisms in the Works of SiminDaneshvar with a Focus on the Novels Suvashun, Island of Confusion, and The Wandering Camel Driver" by Zahra Doosti and colleagues (2023), "An Examination of Esfandiar's Defense Mechanisms in the Battle of Rostam" by Alami (2015), "Character Analysis of Rostam in the Story of Rostam and Sohrab Based on Defense Mechanisms" by Salehi and colleagues (2019), and the article "Analysis of the Novel Men of the Sun Based on Freud's Theory of Defense Mechanisms" by MollaEbrahimi and Hamze (2022).   In non-academic research, one can refer to the article by OmidiSarvar (2016) titled "The Headless Palm Trees, " the article "A Look at the Novel Hars" by Kanaan (2016), and also the article "Unfinished Mourning" by Feyzabadi (2019) In academic research, there are two articles by GhasemiIsfahani and Dadour (2023) titled "The Application of Reception Theory in Analyzing the Concept of War in the Novel Hars" and the article "Psychoanalytic Analysis of the Main Character in the Novel Hars Based on Karen Horney's Theories" by Khadiyapur and colleagues (2022).   In all the academic and non-academic research conducted on the novel "Hars, " the focus has been on describing and analyzing the characters from psychological or literary perspectives.However, none of the studies have addressed the reasons behind Nawal's behavior or how her actions impact the family dynamic and perpetuate its vulnerability from a psychological standpoint.Additionally, the behavioral confrontation between Rasool and its influence on the narrative progression has not been explored.       Theoretical Foundations   Anxiety and stress, as psychological phenomena, are significant factors in the emergence and persistence of many mental disorders and are an inseparable part of human life.Therefore, the way individuals cope with stress plays a crucial role in reducing the formation and duration of stressful events (Chen & Chang, 2011: 10) and is among the most significant factors influencing mental health (Lazarus & Folkman, 1992: 51). Coping strategies for stress are a dynamic process and manifest differently among individuals in the form of coping strategies, adaptive patterns, and defense mechanisms, with their application relating to the individual's personality structure.   Freud introduced three structures in the anatomy of personality: the id, the ego, and the superego.Anxiety is an inevitable result of the interaction between these three personality structures and occurs when the ego is under significant pressure.Anxiety, which is a crucial part of Freud's theory of personality, forms the basis for the emergence of neurotic and psychotic behaviors, manifesting in three forms: realistic anxiety, neurotic anxiety, and moral anxiety.The ego's dependence on the id leads to neurotic anxiety; its dependence on the superego results in moral anxiety; and its reliance on the external world generates realistic anxiety.Thus, defensive behaviors take on an important role by protecting the ego from the pain of anxiety.In addition to the defense mechanisms outlined by Freud, these coping methods also include coping strategies and adaptive patterns (Schultz & Schultz, 2012: 63).       Conclusion   In the present study, a psychological perspective was taken to explore the bitter days of this family, addressing the reasons behind Nawal and Rasool's behaviors and the painful bitterness of their lives through the lens of coping and defense styles.This approach aimed to familiarize readers with the lasting psychological impacts of war, emphasizing the importance of individuals' responses to stressful events and the necessity of training to assist affected individuals in learning coping skills.   In this context, an effort was made to highlight the significant role of coping strategies in portraying Rasool as a person who single-handedly guides his fragmented family toward life, prompting the reader to empathize with and sometimes admire him.Additionally, the paper examined and discussed the negative impact of Nawal's ineffective coping strategies, which contributed to the creation of an endless mourning cycle with the new victims of the concluded war.   Ultimately, what emerges from the psychological analysis of the research is that the novel "Hars" provides a narrative interpretation and explanation for the continuity of the bitter days and years of a war-torn family.It offers a psychological response to the unending war in Nawal's life, her unfamiliar behaviors, her regained tranquility in solitude with the withered palms, and Rasool's return to an unwelcoming home from the village.This article serves as a review of the bitter histories of Nawal, Rasool, and their innocent children, aiming to answer the harsh reality of why sometimes the world ends not with a shout, but with a lament.       Keywords: Haras, War, Defensive Strategies, Adaptive Patterns, and Defensive Mechanisms.       References   AghakhaniBizhani, M and others (2019) Freudian Reading of the “Cold Sooran” Novel.Literary Text Research, 23(80), 84-61.doi: 10.22054/ltr.2017.21793.1861.   Alamimehmandoosti, Z., &Davoodipanah, N.(2015) A Study of Esfandyar`s Defense Mechanisms in His Battle with Rustam.Heroic Literature, 2(4), 71-99.   Chen, P, Y & Chang, H, C, (2011) “The coping process of patients with cancer European”, Journal of Oncology Nursing, 16, 10-16.   Dosti, Zahra, and others (2023) "Investigation of psychological defense mechanisms in the works of SiminDaneshvar based on the novels Sushun, Wandering Island, Sarban Wandering", Journal of Persian Poetry and Prose Stylology (BaharAdab), 16th year, No.92, pp.129-145.   Faizabadi, Razia (2019) MatamNatamam, Lizna.   Ghassemi Esfahani, Nikou, Dadvar, Elmira.(2023) Analysis of the War in "Haras (The Pruning)" According to the Reception Theory.Pazhuhish-iZabanvaAdabiyyat-i Farsi, 68, 127-151.       HajiZeynab and others (2014) Studying the Mechanisms of Psychological Defense in Hanging Bridge Novel.Fiction studies, 3(1), 7-22.   Kanani, Sara (2016) "Looking at the novel Pruning", Iran Book Agency.   Khadivpour, R and others (2022) Psychoanalytical analysis of the main character of the novel called "Haras" according to views of Karen Horney.Literary Text Research, doi: 10.22054/ltr.2022.68594.3579.   Lazarus RS, Folk man S (1992) Stress, appraisal, and coping, New York: Springer, (pp.349-364).   MollaEbrahimi, E., &Hamzeh, R.(2022) An Investigation and Analysis of GhassanKanfani's Novel Rijal fi al-Shams Based on Freud's Theory of Defense Mechanism.Research in Contemporary World Literature, 27(1), 480-502, doi: 10.22059/jor.2020.309360.2042.   Omid Sarwar, Hamidreza (2016) "Headless Palms", Analytical News Society A.   Salehi Mazandarani Mohammadrezaand others (2019) Analysis of Rostam's character in the story of Rostam and Sohrab based on defense mechanisms.Pahlavi literature biannual.(6): 213-242.   Schultz Duanane P & Schultz Sydney Ellen (2005) Theories of Personality.8th ed.       Manuscript profile
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6 - A Prospective Analysis of the Discourse of War in the Novel "Chess with Doomsday Machine": Reader-Response Criticism
Ali Taghizadeh Mahmoud Kamali

 In recent periods, reader-response criticism has challenged traditional and author-centered criticism, and by giving importance to the reader's position, it has changed its absolutist approach to a relativistic one.Wolfgang Iser believes that each reader obtains a new meaning from the text, which indicates the relative nature of meaning.He turns reading fiction into an activity that results in the formation of "literary text" as a phenomenological structure in the reader's mind.In contemporary Iran and under the influence of the imposed war, many texts have addressed the issue of war; among them, the widely read novel "Chess with Doomsday Machine" by Habib Ahmadzadeh, with its new and different approach and perspective, has managed to gain a good position in this field.The present study examines the relativism of war discourse in this novel based on Wolfgang Iser's theory of reader-response criticism and shows that the discourse of the novel, which is the result of the interaction between the text and the reader, is interactive and relativistic.The findings of this research show that although one side of this novel presents a jihad-oriented discourse, the other side cultivates a revisionist discourse that wants the reader to look at the war from a new perspective.In addition, the novel succeeds in attracting the reader and interacting with him, and the reader can fill in the empty spaces of the text, which are often hidden, by reasoning and inferring.       Introduction   Relativism in literary criticism came out of Husserl's phenomenology, and of course, it was Hans Robert Jauss and Wolfgang Iser who expanded this concept.Following this type of view, Jauss proposes the concept of "reader's expectation horizon", which means that the reader's expectation from the text changes in different periods according to the specific conditions of the reader.Like Jauss, Wolfgang Iser is one of the new hermeneutic thinkers and supporters of the theory that he explained in his book “Act of Reading ".The novel "Chess with Doomsday Machine" by Habib Ahmadzadeh is one of the works that narrate the events of the war with its special perspective.       Research Background   Yahya Talebian and Mona Sadat al-Sayed (2021) in an article entitled "Critical Examination of the Novel Chess with Doomsday Machine based on Theodore Adorno's Theory" conclude that the critical analysis of the text shows the reflection of the society's situation in the narrative and the submission of the text to socially imposed correlations, and makes the tension between dualities a place for reflection.Mohammadreza Yousefi and Tahereh Ahmadi Varzaneh (2019) in a research study of the female characters in four novels including Chess with Doomsday Machine conclude that Ahmadzadeh has been completely successful in characterization based on behavior, dialogue, description of appearance, and environment.Mohammad Alijani (2018) in the article "The Quality of Reflecting Myths in the Doomsday Chess Novel", believes that the author of the novel focuses on the Iran-Iraq war and recreates the mythological narratives of the conflict between God and Satan, creation, and The fall of Adam, the legend of the fight between the dragon and the hero of the Last Supper, Jesus raised some archetypal human concerns such as the suffering and death of humans and whether they are free or forced in the context of destiny and the conflict between good and evil.Sahar Ghaffari (2015) in research entitled "The effect of paratexts on the formation or distortion of the text (an examination of the duality of the novel Chess with Doomsday Machine through the lens of paratexts)" observes a kind of "duality" in Ahmadzadeh's novel, which this work is based on on the one hand It is included in the category of sustainable literature, but on the other hand, it is "in the ranks of nihilistic and predestination works" that considers man to be forced and captured by fate and consider war as a historical force and a product of the rule of fate, an ominous and reprehensible phenomenon.Sahar Ghaffari and Soheila Saeedi (2014) in "Carnivalism in Chess with the Doomsday Machine" include this novel among the works that match Bakhtin's definition of carnivalism in polyphonic novels.It matches and is the center of multilingual performance that emerges from the interaction of different sounds.Hijazi (2013) in research entitled "Analysis of the Polyphonic Novel Chess with the Doomsday Machine" discussed the functions of the language of the novel and different voices based on Milan Kundera's opinion.From Hijazi's point of view, this work is a philosophical realist novel whose wise philosophical dialogues between the characters arouse the audience's curiosity to receive and understand the answers to the questions that are his mental conflict.Razi and Abdulahian (2011) in "Analysis of story elements in the novel Chess with the Doomsday Machine" examine things such as scene design, character design, plot, style, and language of the novel believe that the skill of using story elements in this novel, It has made it a valuable work.In research entitled "Criticism: Chess with a Warrior Who Wanted to Checkmate / Criticism of the novel Chess with the Doomsday Machine", Zanouzi-e Jalali (2006) considers the remarkable score of the novel to be the appropriate point of view of the author and the honesty of the narrator.       Theoretical Framework   The present study examines the discourse of war in Ahmadzadeh's story.This story avoids dogmatism and one-sidedness and moves towards discursive relativism, which will be analyzed based on Wolfgang Iser's theory of reader-centered criticism.Therefore, the main approach of this review is reader-response and interactive.Although it discusses the semiotics of the story to some extent, however, semiotics will be a secondary discussion in this review.Despite this, because in the relativistic discourse of Ahmadzadeh's novel, the possibilities of Iser's aesthetic criticism are well provided, the present review of some of the categories and methods proposed in Iser's theory, including "reading experience", the action of the text and the reader will trace and examine the phenomenological text (virtual text) and the designed process in this novel.Therefore, in this research, "accurate reading" of the main source and other sources is very important, and an effort is made to make the research discussion textual and objective by bringing several examples of novels and some theoretical works of Iser.       Data Analysis   Although the novel "Chess with Doomsday Machine" is in the genre of "Resistance literature", it has fundamental differences from other works of this genre; Because with the issue of war, he prepares a discourse that avoids dogmatism and absolutism and turns to relativism; Because wants the reader make a cultural and discursive review of the war.The text rejects the traditional and predestined views of war and considers it the will of those who want war, and therefore considers it the duty of man to refrain from war to enjoy the blessings of peace.Therefore, it fosters the discourse that contemporary man has the responsibility to control and refuse this phenomenon through understanding in reasoning and interaction in the discourse, which implies a kind of cultural behavior with war.In Chess with the Doomsday Machine, the "reading experience" is an interpretive and productive thing that causes the interaction between the text and the reader.In the article "Reading Process: Phenomenological Approach", Iser argues that the formation of new experiences in the text is the result of the interaction of the sides of this discourse triangle; Although the literary text does not refer the reader to the external reality, its sentences, and other linguistic factors are productive units whose correlation and interaction create a series of claims, statements, and observations in the text; This means that they determine the direction and nature of reading.In this way, reading and understanding are the result of the interaction of factors such as linguistic structures and their effect on the reader's mentality, fictional characters, lanterns that the characters carry with them, shadows on the wall, and even the circulation of the narrator's memory in the ceremony of lamenting by his friends.Now, if the narrator is the representative of the author, and if Mahtab and his mother are the objects of the reader, the giant shadows on the wall are the embodiment of the literary text, and like this type of text, they are borrowed and phenomenological.Icons such as jinn and shadow are intermediate and although they are non-existent, they are considered phenomena; because their existence depends on being presented to our minds, just as the text is the result of the interaction of linguistic structures and the reasoning mentality of the reader and is formed during reading.Discourse relativism is formed in a way that in this work, a three-day section of the imposed war of Iraq against Iran is designed in such a way that its narrative is a space for the interaction of the text and the reader.This process only happens in reading.Its purpose is to achieve tolerance and discourse interaction to avoid dogmatism in the approach of war, and it cultivates a discourse that is not necessarily the same as the discourses of the author, the text, and the reader but is the result of their communication and interaction.Therefore, the story of chess is the literature of discursive relativity of war, which is built in a critical and debated atmosphere.       Conclusion   The novel "Chess with the Doomsday Machine" has a two-sided and incongruous structure, one side of which creates an ideological and jihad-oriented discourse.In contrast, the other side presents a doubt-oriented and revisionist discourse.This novel, in the revisionist direction, refuses to adopt a definite and emphatic position about the war; because its dual discourse includes a space that does not put concepts such as good/evil and light/darkness in conflict with each other, but even prepares the desire for solidarity and compromise between them.Therefore, the dominant discourse of this story, while refraining from dogma, moves towards relativity and tolerance.       Keywords: Chess with the Doomsday Machine, Reader-Response criticism, Discourse relativism, Wolfgang Iser, Response-seeking structure       References   Alijani, Mohammad (2017) "The quality of the reflection of myths in the novel Chess with the Doomsday Machine", Narratology Journal, Year 2, Number 4, pp.115-145.   Abjadian, Amrullah (2012) History of English literature, ninth volume, poetry and literary criticism of the 20th century.Second edition.Shiraz: Shiraz University Publishing Center.(First edition: 1387).   Ahmadzadeh, Habib (2008) Chess with the doomsday machine.Tehran: Surah Mehr Publications.   Arvin, Shokofeh, Abulqasem Dadvar and Maryam Hoseini 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