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In this article, we are going to examine the conceptual metaphor used in two types of Persian prose in the books of Dar al-Majanin and Kimya Saadat, and at the same time, we will have a look at the field of origin from both books and pay attention to the difference between the fields used in them. The aim of this research is to achieve a uniform pattern in the division of metaphors used in past and present texts.For this purpose, after studying the research background and theoretical studies of conceptual metaphor, ten percent of each first, middle and last part of each book was analyzed and the areas of origin and destination and mapping of conceptual metaphors were noted and placed in an Excel chart and by Excel The statistics of conceptual metaphors were calculated and displayed in a bar graph for easier viewing (it will be shown in the conclusion section), which from a total of 111 metaphors investigated in the Kimya Saadat and 81 metaphors in the book Dar al-Majanin, the statistics obtained are as follows. be: Kimya Saadat: Structural metaphor 42 - Hetocognitive metaphor 11 - Directional metaphor 1 Book of Dar al-Majanin: Structural metaphor 42 - Ontological metaphor 25 - Directional metaphor 2 The most frequently used metaphor frequency in both books was related to ontological metaphors, which were about 5242 and 2141 percent, respectively, and the lowest frequency was directional metaphors, which were 841 percent and 241 percent, respectively.

Folklore is an important indicator in determining the culture of each nation so that we can without doubt say that the most lasting and purest literary and artistic creations of mankind have been inspired by the folklore and literature of the masses. Lullabies are also part of the oral folk literature of the society which originated from the minds of the masses; hence, indirectly transferring different concepts to the minds of the listeners. Therefore, based on a descriptive-analytic approach in this article, we decided to answer questions like what issues do the written Persian lullabies cover in relation to the religious culture? And else what role do these Persian lullabies play in transferring it to children? The results of this study show that among mothers’ lullabies, religious culture has been expressed in different ways, such as "religious beliefs, moral beliefs, and public opinions", while the hypnotic melodies can play an important role in the religious identity of children. Therefore, mothers’ shares should not be underestimated in creation and development of such feelings and beliefs.

This study deals with the analysis of the plays by ChistaYasrebi and NaghmehSamini and is trying to study the role of feminine language in the plays of these two contemporary Iranian woman playwrights. In this study, first issues of women, language, feminine language and brief introduction to the life of ChistaYasrebi and NaghmehSamini have been investigated and then the feminine language in the works of these two female playwrights has been studied, to specify the role of the female narrator in narrative and feminine writing. The result of the study is that the structure of the playsofthese two playwrightsis very influenced by the gender of the narrator in terms of Personality Science, dramatic situation, and dramatic language, and feminine language is a key element of writing.

Jalaloddin Mohammad Balkhi, known as Molavi, an Iranian mystic poet, who is more known as Rumi in the West, is one of the intellectual and cultural geniuses of Iran and the world. He has shown in his works that he had many concerns and thoughts about epistemology, anthropology, and ontology. He has created works for mental health and inner peace of man, which until today all thinkers and even ordinary people have benefited from these works and have tried to improve mental health and better life in this world. One of the fields that can benefit from Molavi's mystical and wise thoughts reflected in his poems is poetry therapy, which has been read by poetry therapists for years and taught in university groups. Today, therapeutic poetry with its rich history and diverse applications is still a valuable tool in the field of therapeutic interventions and is used to improve mood, reduce stress, increase awareness, and help people manage emotions. In this research, poems by Molavi have been presented, which the author believes can be used in the field of poetry therapy. The method of this research is thematic content analysis and the results show that Molvi's poems are very effective in the field of cognitive and meaning therapy, hope therapy, happiness therapy, positive attitude towards existence, and positive psychology, and finally, it can induce peace, Personal growth and a deeper understanding of oneself and the world, which is similar to cognitive-behavioral therapy in contemporary psychology.

This article focuses on Iranian war narratives and the technique of ‘writing back to history’ in Hasanzadeh's This Weblog will be Transferred .(2015) Deploying the neo-left technique of revision and Flanagan’s notion of ‘technorealism’, the writer has tried to discuss how young adult literature can reevaluate the dominant representation of the recorded history. It is argued that the production of a counter-narrative and the illustration of history from a marginalized silenced perspective of the young adult reader have enabled Hasanzadeh to reveal hidden narratives and to re-assess the dominant discourse. As one of few young adult narratives that address the subject of the Iran-Iraq War and the depth of national agony, Hasanzadeh's work distinguishes itself through its use of cyberspace in the representation of war. His work, by incarnating an online platform such as weblogs, inspires a sense of collectivity that most war narratives strive for. This sense is inspired through many intertexts woven into the fabric of the narrative. Along completing and expanding the scope of the main narrative, these intertexts incorporate an intimate tone and elicit empathy and identification from the young adult reader. Furthermore, they create a kind of multi-perspectivism that not only challenges the monolithic narrative of the war in Iran but also corrects and shapes the public's perception of the impacts of war on a nation. The result is an alternative vision of the past that fights the misuse of national memory and the creation of a better sense of the inherited world for young adult reader.

Extensive interest in the field of comparative literary studies emerged in the early decades of the nineteenth century with the main focus of comparing similarities in perspectives and variations in beliefs which congregate or rupture world views, representing human thought. It is the objective of the present study to analyze and compare the components which yield to the New Historical analysis of two literary pieces to discover the existing nuances related to the artists’ socio-cultural milieu and to illustrate how this mirrors personality development in their poetry. For this means, two poems have been chosen: “I Am a Black Woman” from Mari Evans, a contemporary African-American poetess, and “Farewell” from Forough Farrokhzad, the influential, modernist Iranian artist. Results will indicate how the views of the two poets differ from one another in regard to the relationship between identity formation and the role that episteme plays in this process. Inevitably, there will be concern about the influence of zeitgeist in imagery production since literary work is the doings of historical-socio-cultural discourses as much as creative imagination.

Among the authoritative dictionaries of Persian language, Borhān-i Qāti’ (lit. ‘Conclusive Proof’) is considered a turning point in the field of dictionary production, and it provides attractive data for applied linguistics studies in the field of lexicography. Borhān-i Qāti’, compiled in India in the 17th century by Moḥammad-Ḥosayn Khalaf Tabrīzī, is remarkable in several respects, but one of its features which does not seem to have received a proper attention, is its method of providing the pronunciation of its entries. In this reference, almost half of the entries have been given a pronunciation based on analogy, in which the entry word is echoed with a second-well known one, having the same phonotactics (distribution and arrangement of vowels and consonants), and distribution of vowels, and prosody pattern. This method was successfully practiced later on in another important but unfinished reference: Āsaf al-Loghāt (1906-1921). In This article, this pattern of presenting pronunciation is introduced and explained. Also it provides the readers with a list of the reference words which have been used to recognize the pronunciation of the other words, and the frequency of them will also be given and analyzed. The final list of this article presents those words which were believed to be “basic” or “core” by the compiler of Borhān-i Qāti’.