Literary Interdisciplinary Research

Abstract Introduction
The doctrine of deconstruction was proposed by the French-Algerian philosopher Jacques Derrida, which has had a tremendous impact on various philosophical and literary fields. Deconstruction is a complex and broad concept, to the point that Derrida wrote a book called A Letter to a Japanese Friend to explain it to Izutsu, explaining that this concept is so broad that it includes dimensions such as meaning, literature, philosophy, ethics, politics, many concepts, and in general, philosophical and non-philosophical teachings. This breadth goes so far as to include deconstruction itself. As Derrida himself says, “Deconstruction deconstructs itself.” (Lucy, 2010: 210).
One Thousand and One Nights is a multinational collection and is considered an ancient book in the field of stories and legends, and parts of it may have been formed before Islam and parts during the Islamic period (Mahjoob, 2007: 369-379). Unlike its ancestors, namely the Thousand Fables and Indian collections, etc., this book seems to be a different book (Eghlidi, 2014: 4). In this book, whose narrator is Shahrzad and whose direct addressee is Shahryar, various stories and legends, many of which are intertwined, are seen. Of course, not all of its stories have the same literary value. But it seems that the fables in it contain valuable and cryptic meanings .Since animal stories have a wide audience and include children and adults, fables can be used in teaching philosophical concepts in addition to their traditional use. The contrast of friendship and enmity is one of the common philosophical concepts in literature, including fables, which dates back to Aristotle. Therefore, the natural nature of fables, along with the need for narrative formats to explain philosophical concepts, became an incentive for the present study to address it. For this purpose, two stories from the fables in One Thousand and One Nights were selected for deconstruction. Based on what has been said, the following essay seeks to deconstruct selected stories about animals in One Thousand and One Nights using a descriptive-analytical method and Derrida's philosophical approach and to answer this question:
-What new meanings does the deconstruction of the oppositions in the story of the fox and the wolf and the story of the fox and the crow create?
Materials & Methods
Derrida's method of deconstructing literature and writing is based on finding binary oppositions in the text that determine its dominant ideology. The next step is to deconstruct these oppositions by finding contradictory elements in the text, and finally, a new reading based on this deconstruction completes the work.
Discussion & Result
Derrida considered deconstruction indefinable and described it as mysterious, mystical, and an experience of the impossible.“The main reason for the indefinability of deconstruction from Derrida's perspective is that he assumes ambiguity to be an inherent characteristic of meaning” (Haghighi, 2000:47-48). However, since an acceptable and close definition of deconstruction must be provided, the concept of presence, absence, and difference must be explained. One of the foundations of Western philosophy is logocentrism and the centrality of reason. It is necessary to know two points to understand Derrida's criticism of Western philosophy. First, Western philosophy has assumed existence to be equivalent to presence (Ahmadi, 2021: 384). Second one, it considers the presence of meaning in dualistic oppositions that always give priority to the first pole of otherness, which is called logical focus or logos and implies the distinction of the presence of meaning on the first side with its owner (Al-Ruwaili and Al-Bazei, 2002: 108). Derrida also assumed language to be a kind of metaphysics in which the duality of speech and writing is considered the axis of speech. In this opposition, speech has always been preferred over writing, because it has been assumed that meaning is present in speech and is absent in writing. Derrida focused all his attention on saying that the complete presence is found in writing as much as in speech (Honarmand, 2021: 202). He believes that the centrality of speech in the text must be broken, the text neutralized, and the reader saved from the dominance of speech (Shamisa, 2014: 224). In this research, an attempt has been made to free the audience from the constraints of the structural dualities that govern the text. The results of the deconstruction of the two stories are listed below:

-Deconstruction targets the ideologies present in the text and, like the action of an architect, destroys and reconstructs the current aspect of the word axis. In the story of the fox and the wolf, the presence of enmity is superior to friendship. However, this valuation is not definitive, but rather the contradictory evidence in the text highlights the relationship of friendship. At the beginning of the reading, only the form (either friend or enemy) was conceivable, but in the end, these two concepts were mixed and created the form (both friend and enemy(.
-The deconstruction of the fable of the fox and the crow identifies two separate thematic axes for each of the characters in the story. The preference for friendship in the fox's view and the preference for enmity in the crow's view is what it seems. However, after the deconstruction, the text moves in favor of the absent side and ultimately presents an inverted state. So that The audience perceives the crow as seeking friendship and the fox as supporting enmity. This deconstruction continues and makes the absent form (neither friendship nor enmity) present.
Conclusion
In the deconstruction of the two stories, structural dualities are continuously collapsed and new structures are built. These successive collapses and formations raise the question that the results obtained are not definitive and that the meaning of friendship or enmity is being violated at every moment. This issue can be answered by returning to Derrida's teachings because, in his view, deconstruction creates an unstable state of the meaning of the text that constantly deconstructs the results of the deconstruction. Therefore, creating doubt in the results can be a sign of successful deconstruction of the text.

Abstract Introduction
A narrative is a collection of events in a context of time and place with the presence of characters and actors who shape its events. The set of characteristics that govern every narrative in every literary genre forms the narrative system of that work, which have fundamental differences at the macro and sometimes micro levels. One of the influential aspects of Ferdowsi's Shahnameh is the system that governs its narrative. Narrative pace is a term coined by the Frenchman Gerard Gennet to distinguish between the time of the text and the time of its narration and it monitors the speed at which the reader reads the narrative, which is sometimes slow and sometimes fast, depending on factors. This study examines the pace of narration in the story of Zahhak from Ferdowsi's Shahnameh. In addition, the narrative speed examined in this study is not based on Genette's ideas, but rather on the models presented in the article "Models for Examining Narrative Speed." According to the authors' searches in databases, no research was found that directly examined the narrative speed in the story of Zahhak. However, some studies have paid attention to this story from the perspective of narratology, which can be considered a complementary and more explanatory aspect for this research. The article "Narrative Structure in the Story of Zahhak", the article "Narrative Analysis of the Captivity of Zahhak in Baysanqori's Shahnameh Based on Gerard Genette's Theory" and the article "Structural Analysis of the Story of Zahhak Based on Claude Bermont's Logic of Roles Model", each of which deals with the story of Zahhak in the Shahnameh from different perspectives related to the present research question.
Materials & Methods
This research, using a descriptive-analytical method and relying on library studies, examines and analyzes the narrative speed in the story of Zahhak, as the first story in Ferdowsi's Shahnameh with a complete plot. Meanwhile, in examining and analyzing the speed of narration, Genette's theory is not the criterion, but the rhythm of narration is examined and analyzed based on other patterns.
Discussion & Result
Among the most important findings of this research, apart from analyzing the narrative speed in the story of Zahhak, we can mention the type of research and the importance of paying attention to the fit between theory and text. This means that at first glance, in any research, and especially in research based on literary theories, one must look critically at the theory and its relevance to the text under study. Theories should not be taken as holy scripture, nor should the text be examined solely on the basis of their proposed structure. Rather, in any research, the essence is the text under study, and theory must also enable a new reading and interpretation of it. Otherwise, the research will not yield any new and novel results. As in this study, the discussion of "narrative speed" has been viewed critically, and then, considering the nature of narrative verse texts and based on other models, the analysis of the narrative speed in the story of Zahhak has been carried out.
Conclusion
Ferdowsi used 12 key events in the story of Zahhak and based the story's consistency on those 12 events. In delivering the narrative pace of Zahhak's story, he has tried to narrate the nuclear events of the first part of the narrative at a faster pace. The reason for this could be his attention to introducing the story's setting to the reader and helping him enter the world of the story. Also, there is no need for length or detail in the initial events of the story, and Zahhak's story follows the logic of traditional narrative structure. The second part of the narration of Zahhak's story has negative momentum, and Ferdowsi has tried to narrate this part with greater focus, length, and detail. The reason for this is to establish the concepts in question in the confrontation between the two forces of good and evil. Since Ferdowsi has tried to provide education and advice in various places in the Shahnameh, this part of the narrative is an appropriate place to express his intended teachings. On the other hand, due to the mythical and epic nature of this section, as well as the fruition of the struggle between the forces of good and evil, the mention of actions and their description, the expression of bravery and heroism, and in a word, the establishment of the spirit of heroism in the story, the second part of the narrative required greater length and detail.

Abstract The presence of nature in novel “Fig Tree of Temples” by Ahmad Mahmoud is subject to discourses that affect all structures of society, which can analyzed in four categories of subversion, rupture, externalization and alterity based on Foucault's thought. In this research, with a descriptive-analytical method, we will deal with question that conflict between two discourses of tradition and modernity has contained what developments and consequences in biogeography of fictional society under our research? By responding to it, we will find out causes of lack of evolution of human and natural environment in order to reach a kind of epistemology in dealing with nature. The results of research indicate that, based on principle of inversion, man's domination over nature in modern era resulted in adverse consequences for environmental and human society. The destruction of garden and construction of town and lack of attention to nature and essence of nature in discourse of modernity reproduces breaking point of tradition and modernity. According to Foucault's principle of externality, inconsistency of existing layers in traditional and modern discourse and its application in a specific geographical area has caused entropy in biological and human society which is based on principle of alterity its roots can be seen in concepts of knowledge in two historical periods with different functions; Different functions that have formed resistances and caused ecological and human society not to go through an evolutionary process and do not imply emergence of new environmental propositions that will put nature on a new path.

Abstract Introduction
Persuasion is a cognitive process that takes shape within human communication. Given that the primary components of communication are the sender, the receiver, and the message, it becomes evident that all individuals in social interactions (whether the sender initiating communication or the receiver as the audience) engage with persuasion and persuasive communication because persuasion involves the sender’s effort to convince the audience to accept a certain idea or request. In other words, the sender's objective in the persuasion process is to affect the recipient through the message in a way that finally shifts attitudes or behaviors.
The concept of persuasion has captivated thinkers and scholars for centuries. In ancient Greece, persuasion was confined to rhetoric and verbal influence but from the early 20th century, social psychologists and communication scholars began systematical investigation and theorization of persuasion and provided several theories and models. Among the various models introduced, Hovland's Persuasion Model stands out, focusing on all key components of communication (namely the source, the message, the audience, and the communication channel) each of which has specific characteristics.
Materials and Methods
Hovland’s Persuasion Model provides a proper framework for investigating and criticizing educational texts. Since one of the primary objectives of poets and writers in educational literature is to persuade their audience, these texts can be evaluated based on the elements and characteristics associated with persuasion to understand how the creators of these works took advantage of persuasive elements to align their audience with their teachings. Therefore, this study examines the “Kimiya-yi Sa'adat” book, a Sufi educational text, within the framework of Hovland’s model, aiming to answer the following questions: a) What are the prominent features of the source, message, and audience in “Kimiya-yi Sa'adat” that contribute to persuasion? b) Among the two communication methods of the era (direct face-to-face communication and indirect written communication), which did Ghazali choose and why?
Discussion
Since the mid-20th century, psychologists have sought to understand the mechanisms of persuasion. Carl Hovland and his collaborators, Janis and Kelly, were among the first to systematically investigate and test persuasive communication during World War II. Later, other researchers and theorists, including McGuire, Wood, and Eagly, expanded on their work, exploring attitude change and persuasion from different perspectives. Their studies identified four primary components of persuasion: the message source, the message, the audience, and the communication channel. The pioneers and developers of Hovland's Persuasion Model uncovered and clarified distinct attributes for each of the four primary elements through various experiments and research. They asserted that adhering to the indicators related to these four components of persuasion could lead to convincing the majority, if not all, individuals. This research focuses on analyzing how these elements manifest within the text of “Kimiya-yi Sa'adat”.
Conclusion
1. The cornerstone of successful persuasion is gaining the audience's acceptance. To this end, the message source must possess certain qualities, such as credibility, likability, or authority. In “Kimiya-yi Sa'adat”, Imam Muhammad al-Ghazali, as the initiator of the communication, is presented as a highly credible source due to his extensive knowledge of religious sciences and his expertise in both Sharia and Tariqa. Another important source referenced in the text is the Quran. Muslims’ belief in the divine origin of the Quran and their obligation to obey its commands enable Ghazali to leverage its authority as a persuasive tool. Additionally, he cites the sayings and actions of the Prophet Muhammad, Imams, companions, other prophets, and prominent Sufi scholars, who were highly regarded by the Muslim audience, to establish credibility and foster likability.
2. Another crucial aspect of persuasive communication is the method of presenting the message. To maximize its impact, “Kimiya-yi Sa'adat” considers key features such as clarity, appropriate use of emotion or reason, logical sequencing, and addressing both sides of an argument when necessary.
3. The process of persuasion revolves around the audience, with the speaker's main objective being to shape the audience's attitude toward a particular topic and bring their perspective in line with their own. Consequently, effective persuasive communication requires a thorough understanding of the audience's traits before determining the appropriate variables and elements of the remaining three components: the source, the message, and the medium. In “Kimiya-yi Sa'adat”, Ghazali placed special emphasis on two significant traits of the audience portrayed within the text: their level of intelligence and self-esteem.
In Ghazali's era, two primary communication methods existed: direct face-to-face communication (e.g. public assemblies), and indirect written communication. Despite the prevalence of assemblies, Ghazali took advantage of the indirect written method to convey his thoughts. This choice reflects his intent to achieve profound and lasting influence, as written texts allow for deeper reflection. He avoided face-to-face communication because although audiences might be affected by the speaker in this method, its impact is typically shallow and temporary, resulting from excitement and interpersonal attraction.

Abstract Introduction:
Interdisciplinary studies, a subset of comparative studies, utilize approaches from various disciplines to explore common issues through an intertextual dialogue. These studies cover everything from artistic trends to different scientific and artistic contexts, gaining popularity as a research methodology. They end the soliloquy, isolation, and fragmentation of humanities, particularly literature, in relation to other arts and sciences. "Intertextuality" highlights how texts are not standalone but are composed of a collection of signs, speeches, and previous texts. This concept, originating from Bakhtin and Kristeva, was developed by Genette into transtextuality, outlining five types of text relations, one of which is "hypertextuality," where a text (B) is linked to a prior text (A) without interpretive intent.
Previous research on Hedayat's intertextuality includes studies on the connections between "The Blind Owl" and "Let's Believe in the Beginning of the Cold Season," the influence of Hedayat on Sadegh Chubak's works, and intertextual analyses in contemporary Iranian paintings. However, no independent academic research has been conducted on the intertextual relationship between Hedayat's works and Hajizadeh's paintings, making this study innovative in its approach and subject.

Materials & Methods
In the 1960s, Julia Kristeva introduced intertextuality, influenced by Bakhtin and Saussure. Intertextuality suggests that texts are inherently dialogical, with meaning derived from a network of previous texts and signs. Genette further expanded this into transtextuality, focusing on all manifest and hidden relations between texts, with hypertextuality being one where a text (hypertext) relates to an earlier text (hypotext) without interpretation.
Ghasem Hajizadeh, born in 1947 in Lahijan, began painting with botanical illustrations and later through sign painting. Influenced by artists like Ardeshir Mohassess and Manouchehr Yektai, his works reflect a thematic and stylistic evolution from abstract to human portraiture. Hajizadeh's thematic focus can be categorized into nostalgia, contemporary ethnography, and celebrity portrayal, with a notable exhibition dedicated to Hedayat, presenting 18 paintings and 12 tile works themed around "The Blind Owl" and Hedayat's persona.

Discussion & Result
Analyzing the relationship between Hedayat's narratives and Hajizadeh's paintings involves looking at three main aspects: form, content, and the symbol system:

Formal Aspect: The influence of Hedayat's narratives on Hajizadeh's formal elements is evident in the choice of historical settings, seasonal motifs, and character portrayal. Hajizadeh's works often reflect a Qajar and early Pahlavi era ambiance, paralleling Hedayat's temporal contexts, with autumnal themes echoing the existential autumn in "The Blind Owl."
Content Aspect: Themes of loneliness, alienation, and critique of superstition in Hedayat's work are mirrored in Hajizadeh's paintings. The solitude of characters, particularly women depicted in isolation, reflects the existential and societal critique found in Hedayat's writings.
Symbolic Aspect: Hajizadeh uses symbols and motifs that resonate with Hedayat's thematic preoccupations, like the use of dark and cold colors to signify depression, loneliness, and the critique of societal norms.

Conclusion:
The intertextual relationship between Hedayat's works and Hajizadeh's paintings is multifaceted, influencing form, content, and symbolic representation. Hajizadeh's art not only reflects but also reinterprets Hedayat's critique of society, human existence, and cultural practices, making Hedayat's narratives a significant pre-text for Hajizadeh's visual storytelling. This study underscores how literature can profoundly shape visual arts, providing a rich field for further interdisciplinary research.

Abstract Introduction
One of the writers who shone in creating social novels is Mahmoud Dowlatabadi (born August 1, 1940, in Sabzevar). Dowlatabadi's novels, especially his novel "Kelidar," are among the best contemporary realistic works. This novel possesses significant sociological characteristics in both its volume and structure. In this work, Dowlatabadi addresses one of the peasant uprisings in Iran during the tumultuous period following World War II in the 1940s. This monumental ten-volume novel narrates the uprising of an exiled Kurdish family in the Sabzevar region of Khorasan, who take up arms against the oppression of landlords and are ultimately severely suppressed due to betrayals and plots by these landlords. The author depicts this uprising, which coincided with his childhood, in an epic narrative filled with numerous characters, realistically reporting the socio-political conditions of society during that time. The abundance of characters and events, meticulous attention to detail, use of vocabulary and expressions from the Khorasani dialect, reflection of local culture, beliefs, and customs, along with the narration of historical events from that period, all contribute to making this novel a significant realistic work. In "Kelidar," we encounter a class-based society where each character embodies their class characteristics. In fact, this novel narrates a class struggle in which the lower classes eventually form one of the uprisings of the 1940s to free themselves from the oppression and exploitation of the upper classes.

Materials & Methods
The present research aims to descriptively and analytically examine the social space of the realistic novel "Kelidar" based on Pierre Bourdieu's sociological theories and analyze the reasons for the emergence and decline of the peasant uprising based on the role of the social classes involved in it.

Discussion & Result
The novel "Kelidar," as a realistic work, portrays the class society of Iran during the years following World War II. Dowlatabadi, by creating numerous characters from different classes, delves into the inner layers of these classes and reveals the dialectical relationships among them. In this novel, the lower classes (peasants and villagers) are in conflict and tension with the upper classes (landlords and government agents). This confrontation recalls the political pattern presented by Marxist theory. In this novel, the lower classes unite under the leadership of Gol Mohammad to rise against the landlords and achieve some degree of success; however, this uprising does not lead to the ultimate goal of Marxism, which is the collapse of the capitalist system and the establishment of a classless society. Although the class structure and conflict among classes can somewhat align with Marxist classification, the characteristics of the class society depicted in "Kelidar" are more compatible with Bourdieu's sociological model. This is because in this novel, each character possesses specific habits corresponding to their class. These habits are unconsciously ingrained in the characters' behaviors and shape their actions within the narrative.

Conclusion
Aside from the existing historical documents and information regarding the overall nature of this uprising, which undoubtedly influenced this novel, the social world of this work also somewhat illustrates the reasons for the decline and failure of this uprising. One of the most important reasons is the lack of preparedness among the lower classes; although the peasant classes were fed up with the oppression and exploitation by the landlords, they were still not ready for such an uprising. The absence of self-belief among these classes and the internalization of the rules of domination in their subconscious undermine the uprising. On the one hand, the leader of the uprising—Gol Mohammad—experiences a lack of foresight and planning due to his disconnection from the intellectual class, which Bourdieu emphasizes as essential in social movements, thus discouraging the lower classes about the future of the uprising. On the other hand, the leader himself becomes spiritually doubtful and unstable. This leads to an internal collapse of the uprising, causing opportunities to slip away one after another. Meanwhile, on the opposing front, landlords unite against each other and, considering political changes in the country and government concentration on suppressing scattered uprisings, they seize this golden opportunity and involve the government in their efforts. In Bourdieu's sociological theory, the state is a super-capital that exerts power over all fields and treats all classes and social groups as tools in its hands. The state not only monopolizes physical violence (military and police) but also imposes its will on its opponents by internalizing its dominance over society—what Bourdieu terms symbolic violence. Therefore, in "Kelidar," although the state initially has a weak presence, it ultimately delivers a final blow to the uprising when it intervenes in suppressing it. Utilizing its symbolic power by granting titles and positions, it places local thugs and rebels at the forefront of repression, then violently and bloodily executes the leaders of the uprising, effectively crushing this rebellion.

Abstract Introduction
Roland Barthes, the French philosopher, in his seminal work titled S/Z, developed a distinctive and innovative approach to text interpretation, focusing on the process of meaning-making and the identification of the origin of the text or the narrator’s identity. According to Barthes, a text is a complex system of signs, and his method of analysis, based on the examination of five distinct codes—hermeneutic, proairetic, semic, symbolic, and cultural—aims to uncover how a text is structured and how meaning is constructed within it. By analyzing and decoding these five interwoven codes, which are embedded in the textual units (Lexia), a multitude of possible interpretations of the text can emerge, with the reader or performer playing a critical and active role in this process.
The present study applies Barthes’s approach to a semiotic analysis of Fe’l (The Verb), a Persian play written by Mohammad Rezaei-Rad, with the objective of investigating Barthes’s method—originally devised for the analysis of narrative texts—in the context of dramatic works.
Fe’l deviates significantly from the conventional structure of well-made drama. The play's treatment of time does not represent the reader's experience of natural time, resulting in a fragmented and disjointed narrative. Unlike the causal logic of events and the conventional temporal structure found in plot of traditional well-made drama, the narrative of Fe’l lacks a conventional sequence of cause and effect, with events occurring without a predictable or linear progression. Furthermore, it appears that traditional or academic classical methods of meaning-making or interpretation are insufficient to capture the full semiotic and semantic dimensions of this text. The conventional approaches to dramatic analysis fail to illuminate the complex interplay of signs and meanings embedded in Fe’l. For this reason, an analysis of the play through Barthes's five-code model provides a more effective framework for understanding its semiotic and interpretive intricacies.
The primary objective of this research is to reflect on possibility of Barthes interpretation in dramatic texts and more over is to explore the interpretive potential of Fe’l through Barthes's proposed method, thereby revealing the latent literary capacities and underlying meanings of the play that may remain obscured through traditional methods of dramatic analysis.

Materials & Methods
This study employs a descriptive-analytical method, with data collected through library studies. Primary materials include Barthes' key works, such as S/Z (1970) and related essays, alongside the full text of Rezaei-Rad's play "The Verb: Shetāhiyāti dar Dastur" (2017). The analysis involves segmenting the play into meaning units (lexia) and examining each of Barthes' five codes: Hermeneutic (enigmas and resolutions), Semic (connotative meanings), Symbolic (binary oppositions), Proairetic (actions and sequences), and Cultural (references to shared knowledge). Data on Barthes are described, then analytically confronted with the play's text to uncover structural and interpretive layers.
Discussion & Result
The analysis reveals "Fe'l" as a "writerly" (scriptible) text, open to multiple interpretations due to its interwoven codes. Hermeneutic codes dominate through enigmas, such as the title "Fe'l" or"The Verb" (evoking grammatical verbs and mystical "shetāhiyāt" or ecstatic utterances), the presence of a male teacher (Farhad Kateb) in a girls' school, invisible characters suggesting supernatural or psychological elements, and disruptive behaviors (e.g., sudden slaps or threats), creating suspense and non-linear narrative progression. Semic codes produce implicit connotations, e.g., "Farhad" alluding to the legendary lover in Persian literature, "school" symbolizing Foucaultian panoptic discipline, and "verb" denoting unrestricted action beyond grammatical constraints. Symbolic codes manifest in binary oppositions like male/female, love/hate, virginity/deflowering, sanity/madness, and freedom/oppression, structuring the play's thematic conflicts. Proairetic codes drive the plot via action sequences, including Farhad's hiring, interpersonal tensions (e.g., jealousy-fueled fights, romantic entanglements), and the climax of Leyla Arash's suicide, blending realistic and surreal timelines. Cultural codes reference Iranian-Islamic norms (e.g., gender segregation, familial hierarchies), Sufi mysticism, Foucaultian power dynamics, and myths like the crane (symbolizing fidelity and tragedy), critiquing societal repression. Results indicate that Hermeneutic and Proairetic codes propel the narrative logic, while Semic, Symbolic, and Cultural codes expand implicit meanings, confirming "Fe'l" as a semiotic-rich, interpretable drama that challenges traditional structures and highlights reader/performer agency.

Conclusion
In this study, Barthes' method was applied to interpret the text of play named The Verb, with a comparison to traditional or “academic” modes of analysis. Ultimately, it was demonstrated that in dramatic or theatrical texts, hermeneutic and proairetic codes act as driving forces, moving the text towards a determined end, while three other codes—semantic, cultural, and symbolic—provide foundational information and implicit meanings essential for comprehension. Interpreting this text through Barthes' lens revealed that the work addresses contemporary concepts regarding the relationship between language and paradigms of power, justice, culture, Persian mysticism, and literature, critiquing a gendered and hierarchical society—one that pushes nonconformists towards isolation and forces elite individuals into alienation and eventual senescence. Ultimately, the Verb portrays a tragedy of dissent and rebellion within contemporary Iranian society.
The study's implicit findings are as follows:
1- In the play, proairetic codes either unravel or create narrative entanglements, and according to Barthes' approach, these proairetic codes may potentially function as hermeneutic codes.
2- In dramatic texts, hermeneutic codes disrupt the logical sequence of events, generating mysteries and questions. Since hermeneutic codes themselves develop and reveal the text's narrative, they can alter the narrative style. In texts with non-linear, non-realistic, and non-causal storytelling, these enigmatic codes, through their non-causal and non-linear presence, shift the narrative structure.
3- Barthes' model for analyzing narrative texts can also serve as an effective method for interpatating dramatic texts.

Abstract Introduction
Emotion is one of the main drivers of the formation of works of art in particular. Poets always express their aroused emotions as a result of encountering social and internal phenomena and events in the form of poetry. Scholars have emphasized the value of emotions in writing poetry and have considered emotion as the fundamental element of poetry to the extent that Shafii Kodkani considered emotionless poetry to be dead and soulless poetry. Considering the value of emotions, scholars of the past have paid attention to the element of emotion in their studies of poetry. Since its inception, the study of emotions has suffered many harms; Because researchers have done research in this field with incorrect assumptions and without paying attention to psychological knowledge, which has caused great damage to the flow of emotional research. Lately, many dissertations have been devoted to the study of emotion and its types in poets' poetry; but the researchers, regardless of the fact that emotion is one of the fundamental discussions of psychology, have done emotional analysis of the poem, which has caused a lot of damage to these researches and the researchers cannot accept the scientific results. have been achieved. Therefore, it is necessary to use methods appropriate to the subject and psychological knowledge because emotion is one of the basic discussions of psychologists' knowledge and psychologists have studied human emotions in its broad form. The present research has been done to identify the pathology of the flow of emotional research, especially theses. In addition, recently, in order to identify the types of emotions, the theory of "fundamental emotions" by Robert Plachik has been proposed as one of the strategies for researching the emotions of poetry. This research was done according to the following questions:
1. Which problems emotional research face in literature?
2. What methods can be used to improve emotional research?

Review
Due to its value in poetry, emotion has always been the focus of researchers. Due to some reasons, these researches have been affected by a lot of problems, which has not been researched so far. Of course, some work has been done on the problems of literary research; Among them, Ali Gholami-Nejad and Ehsan Gubool (2006) in the article "Problems of Persian Language and Literature Theses", scientific-literary macro-view, lack of specific scientific-research method, selection of general topics, Carrying out repetitive topics and... have been considered as the problems of these theses; Aladdin Tabatabai (1386) in his article "Points on the Challenges of Some Persian Cultures", considers the working method, the lack of knowledge and resources to be the shortcoming of Persian language cultures; Maryam Draper (2013) in the article "Classification and Problems of Persian Stylistic Researches and Proposed Solutions", the predominance of historical mentality, lack of theoretical support, not using linguistic knowledge, etc. The problems of stylistic studies is known; Mohammad Yazdan Jo et al. (2017) in the article "Problems of Rhetoric Science Discussions in Rhetoric Books", mentioning repeated definitions and examples, excessive use of Arabic and extreme rewriting, etc. are among the problem of this Researches have stated; Elham Ganj Karimi et al. (2019) in the article "Pathology of Atar Research Articles in the Field of Comparative Literature", lack of methodology, lack of scientific accuracy and detail, repetitive topics, ignoring new theories, etc. are the most important shortcomings. Despite these researches, no efforts have been made in the field of emotional studies pathology; Accordingly, this is the first research that has been done on this issue.

Research Methodology
The present essay has analyzed the theses written in the field of emotional research in a descriptive-analytical way. In this research, most of the dissertations written in this field of investigation and its major harms are identified and ranked according to the evidence, and finally, the theory of "fundamental emotions" by Robert Plachik, having more emotional variations, is the best model for research. The emotional features of the poem are suggested.

Discussion
In Persian literature, theses and articles have been written in the field of emotional analysis of some poets' poems. This research has suffered serious pathology due to the esoteric nature and unclear boundaries of emotions and the use of non-scientific theories and divisions. First, none of these researches are theory-oriented and methodical; Because this research was done based on previous works or incorrect assumptions of researchers who did not have a proper understanding of emotion. In most of these researches, emotions are divided into individual, social and human, this classification has caused researchers to mention all human and social content as emotions and forget the important emotions. As a result, it can be said that it was not theory oriented, lack of scientific methodology, wrong understanding of emotion and its types, judgment on the apparent meaning of words, wrong choice of titles, mismatch of title and content, similarity of contents of different titles and Generalization is one of the great harms that threatens these researches.

Abstract Introduction
The study of the social status of Iranian nomadic communities is one of the social science topics that is generally less visible in the light of the developments in urban and metropolitan society. Meanwhile, institutional and interpersonal relationships and structures, culture, and teachings are present as a social reality in the daily lives of their actors. In historical review, it can be seen that the study of their situation, by adopting a specialized sociological approach and sensitivity to issues such as social issues, education, health, gender relations, and development, has been far less successful. As a result, specialized knowledge has not been able to and cannot follow a sequential view of the developments in their situation in the process of social history research. Meanwhile, fictional prose, especially by incorporating elements of realism, can be somewhat successful in reporting the situation. As a result, although the story is based on the author's perceptions, and experiences, it also contains elements of the lived experiences of the direct actors and reflects the situation that has occurred. By asking about the status of nomadic communities in Iran in less than half a century ago, the present research explores the children's stories of a female writer who won the Iranian Council Children's Book Award in 1984. The question is that the stories that the author acknowledges; Mahdokht Kashkoli is derived from reality, what report does it give about the situation and social problems affecting the Qashqai tribe? What view do these stories present of social relations within the family and gender relations?
Materials & Methods
The qualitative research method is based on the analysis of the narrative of five stories of the book Rasm Ma and Sahme Ma.
Discussion & Result
In The first story is about the sacrifice of Qashqai women and their sense of social responsibility and commitment to others, including family members. Sara is a girl who gives her life to weaving carpets, lending her vision and beauty to the carpet. The second story depicts the divide between that part of the nomads who have settled down and those who are still nomadic, as well as the gap between the nomads' generations. The third story is about the harms that a husband's addiction causes to a nomadic family and its members. The fourth story is the story of enmities that continue from generation to generation and put social pressure on the members of the tribe. The final story is about the relationship between nomads and nature and attempts to answer the eternal question of humankind: the extent of ownership.
Conclusion
The findings show that in terms of form, one story is close to memoir writing, one story is in the form of a tale, and the other three stories are in the form of a short story: all manifest a real style. Migration to the cities, stereotypical and sometimes disturbing images of nomads, drought and livelihood effects, lack of institutional support for nomadic social neighbours such as homeless women, the elderly, especially childless women, domestic violence, the domination of traditional societies such as blood-lust, among others. The most important social issues are reported during the stories. Also, narrating the daily life of women includes numerous and difficult mandatory and positive role expectations. At the same time, women are the main protagonists of the stories, and each of the characters is a glorious symbol of a mature, self-reliant, self-respecting, wise, kind, beautiful, patient and hardworking nomadic woman. Men are not holistic. In addition, it should be said that natural elements such as horses, deer, flowers, and plants are non-human but important characters in nomadic life, each of which has its own precise and regular function in the systematic plan of their lives. Women strive the most in relation to these natural elements for their daily lives and those of other members, and overall, they have achieved coexistence and creative interaction with the environment. Finally, it should be added that although it is expected that living in the light of a collective will brings social support, in the first story the little girl and her grandmother are left without support, and in the fourth story people tease the addict's wife and young son. It is as if the kinship system cannot and does not want to provide support to the disadvantaged and socially marginalized.

Abstract Introduction
In the age of globalism, where cultural boundaries are increasingly blurred and interconnected, Comparative Cultural Studies emerges as a vital field of inquiry. This interdisciplinary approach examines cultural phenomena across diverse contexts, fostering a deeper understanding of the dynamic interplay between local and global forces. By analyzing texts, practices, and artifacts through comparative and contextual lenses, this field addresses critical questions about identity, power, and cultural exchange in an era defined by rapid technological advancement and transnational interactions. Within this framework, Steven Tötösy de Zepetnek's concept of the "paradox of globalization and localization" offers a crucial perspective, highlighting the simultaneous processes of boundary erosion and homogenization alongside the rise of regional identities. He argues that globalization, while fostering proximity to the cultural "other," is counteracted by localized forces that reinforce divisions and resistance. Advocating for Comparative Cultural Studies, Tötösy underscores its role in bridging the gap between global and local forces, challenging exclusionary dynamics, and promoting cultural understanding. This multidisciplinary framework is thus indispensable for addressing the complexities of global interconnection and regional differentiation, fostering dialogue, and enriching the study of cultural interconnectedness.
Materials & Methods
In this study, a historical documentary methodology was utilized for data collection, while a descriptive-analytical approach was adopted for data analysis. The framework for interpretation is grounded in the theories of Steven Tötösy de Zepetnek, a leading figure in Comparative Cultural Studies. His insights into intercultural dialogue, the interplay between globalization and localization, and the dynamics of cultural identity served as the theoretical foundation for the analysis. The research focuses on Mahmoud Dolatabadi's novel That Red Mane Mare, examining how the text embodies the interaction between cultural globalization and localization.
Discussion & Result
The analysis of That Red Mane Mare, which tells the story of the pre-Islamic Arab poet Imru' al-Qais, in light of Tötösy de Zepetnek’s framework of Comparative Cultural Studies reveals a complex negotiation between “Self” and “the Other” within the narrative structure. Following Tötösy’s emphasis on understanding processes of intercultural communication rather than merely the contents of cultures, the novel demonstrates how cultural interactions are enacted and contested rather than simply represented. The surface-level narrative techniques suggest empathy and coexistence with “the Other,” particularly in the engagement with pre-Islamic Arab culture and the figure of Imru’ al-Qais. However, a closer examination indicates a more paradoxical dynamic. By intertwining multiple narrative perspectives and exercising control over the representation of events and characters, the novel reflects Tötösy’s notion of the globalization–localization paradox: the simultaneous erosion of rigid boundaries through transnational forces and the persistent reassertion of local identities, whether cultural, religious, or political. The Other is never fully equated with the Self; its agency fluctuates, shaped by the distribution of narrative power and the mediation of all dialogic interactions, including the poems of Imru’ al-Qais, through the author’s interpretive lens. Furthermore, the novel situates these intercultural encounters within broader historical and political contexts, showing that apparent gestures toward cultural dialogue and understanding are often refracted through local power structures and social hierarchies. This aligns with Tötösy’s view that while globalization fosters interconnectedness, localizing forces, national, ethnic, or institutional, actively shape and sometimes resist the process, creating a tension that the narrative both embodies and interrogates.
Conclusion
Mahmoud Dolatabadi's novel That Red Mane Mare, serves as an intercultural text suitable for analysis within the framework of Comparative Cultural Studies. The author employs various techniques to foster coexistence and empathy with "the Other" on the surface level of the narrative. However, a deeper exploration of defined identities and the actions of "the Other" throughout the text reveals a reversed discourse and mindset. By merging the concept of "Self" with "the Other" and intertwining multiple narrators' identities, the author maintains control over the narrative, subtly altering it as desired, despite efforts to create a sympathetic space for the main character. Furthermore, the plot and dialogue between characters indicate that "the Other" is never regarded as "Self." Depending on the distribution of power, "the Other" is portrayed either as destructive or a stranger. Dialogue with "the Other" is a significant element of the narrative, but its paradoxical nature, as seen in the analysis of the narrators' identities, lies in the fact that all dialogues are constructed by the author's mind even the poetries of Imru' al-Qais, the only Other's voice, is rewritten and translated from Arabic to Persian in the author's style. Ultimately, although the narrative appears to shift from a discourse of unity to one of rupture, a deeper analysis of the power dynamics in the historical context of the story reveals that a discourse of unity was never truly established, and everything revolves around the political conflicts of the time.

Abstract John Bowlby (1907-1990) is an English researcher famous for his child development and attachment theory. His view is one of the most important theories that refers to the relationship between parents (primary caregiver or wet nurse or substitute mother) and the child and its consequences in adulthood. He defines attachment as a stable psychological relationship between two people that continues until adulthood because the behavior of dependence has a biological origin and forms the basis of emotional bonds. Childhood attachment extends to adulthood and determines the future of a person. Various narrations are available about the allegorical poems of Salámán and Absál. This is the story of Prince Salaman and wet-nurse, Absal who develops a fondness for him and turns into her romance. In this mystical story, a deep attachment and emotional bond between the wet nurse, who is like a mother, and the child emerges, which turns into a passionate love in adulthood. The wet-nurse creates such a safe base and a sense of security in Salaman that Salaman decides to commit suicide by avoiding the wet nurse. In this story, attachment has an evolving component that helps Salaman survive. According to the research results, in the story of Salámán and Absál, from Bowlby's view, an insecure relationship between parent and child has caused mistrust, difficulty in coordination and sensitivity, and emotional dissatisfaction in romantic relationships in adulthood.

Abstract Introduction
Ferdowsi employs literary techniques fluently, he uses the literary technique of moment-making to create some caustic, dramatic, and tragic moments to stir up the story and motivate the reader's feelings. Shahnameh is full of psychoanalysis, characterization, and expression of the psychological states and attitudes of the characters. Each "Ego State" represents dynamic behavior patterns tied to various actions. Eric Berne identifies these states as "child, parent, and adult". The "Operant" sends a Stimulus to a "Respondent," initiating a transaction that can be categorized as good or bad. Berne outlines elements of game analysis: “Thesis, Goals, Transactions, Paradigm, Acts, and Results.” Repetitive maladaptive behaviors turn into dysfunctional schemas in the organization of human personality and lead people to recreate unpleasant situations. Traumatic schemas can impair a person's emotional well-being and social actions. This study has investigated the narratives of "Tahmine & Tahmtan" and "Gerdāfarid & Sohrab" who have reached romantic confrontations, using the diagnostic methods of Eric Byrne's attitude of "Interaction Analysis", which is a subset of "Dynamic Psychology". In transactional analysis, games reflect the expression of "Ego states" within complex Scripts. Complementary Transactions only involve two "Ego states." At the same time, more complex interactions arise from combinations of states, such as "Crossed" and "Angular Transactions" Repetitive maladaptive behaviors become entrenched life schemas, leading individuals to recreate harmful situations. Each person may exhibit multiple schemas, and those considered traumatic can severely impact emotional well-being and social functioning.
Methods
This study first examines the narrative and its main characters with a descriptive approach to narrative analysis in the literary-fiction aspects. Then, it analyzes the data of the first part with the attitude of "TA" in the psycho-oriented part. Also, Transactional games have been processed based on the diagnostic characteristics of this attitude, executive power, adaptability, biological flow, and mental force. On the other side, the type of "Ego state" with the perception of the psychological situation " The character's prominent state is explored in response or sending stimuli in the game.
Discussion & Result
In narrative-based analyses, the main plot core of the narratives, the personality aspects, and the perspective of each narrative have been examined. In the plot of the story between "Tahmineh and Tahmtan", childbearing is the reason The main thing is Tahmineh's love for Rostam, which is the result of Sohrab's birth. The great tragedy of Shahnameh takes place behind this confrontation, and Tahmineh moves the story forward with an active character at the center of the narrative. In this narrative, the reader is faced with a closed plot away from the complexities of tying the knots. The omniscient perspective in the story allows Ferdowsi to report the inner states of the actors in various scenes and sometimes include them in his circle of judgment. finally, the reader is informed about the details of this event, such as an episode of a play. In the confrontation between "Gerdāfarid and Sohrab", Ferdowsi, as the omniscient narrator in this story, advances the structural correlation of the narrative based on the atmosphere of the story and the characters, although he also uses a dramatic perspective in various parts of the narrative. In the plot, the principle of resistance is based on the White Fortress, which is like a gateway to Iran, but tying the knot with the revelation of the female identity of Gerdāfarid leads the narrative towards a romantic delay, the characters are active and take action to win over the rival.
In psycho-based analyses, it was revealed that; The event between Tahmine and Tahmtan is not a request for marriage. Still, Rostam is a suitable tool for institutionalizing her mind, which is the birth of a son with Tahmtan characteristics. In the battle between Gerdāfarid and Sohrab and then Gerdāfarid's escape from Sohrab's war and love, Gerdāfarid displays national pride and Iranian supremacy behind beauty, wisdom, and bravery. He can take Sohrab with him to Sepid-dez and on the way to love him agrees with him, but prefers to leave Sohrab's fate to Rostam and the Persian army to act as a Persian warrior deserves. In "An angular Transaction", Tahmine sends a stimulus to Rostam with the "Child" and receives a response with the "Child" mode. In the first game, in "An angular Transaction", after the captivity of Hajir with the "Parent" mode, Gerdāfarid sends the stimulus of the game to Sohrab, but the stimulus of the second game, again in "An angular Transaction" with the "Adult" mode, is thrown at Sohrab by performing flattering caresses. Sohrab in both games is a "Normal Child". The respondent is a large and strong teenager who has not yet been given a chance to crystallize his physical and mental maturity, and rational thinking, which is an adult function, has no place in Sohrab's "Selfish Child".
Conclusion
Tahmine is an actress who regards childbearing as a social privilege, embracing the life script of "externality." Rostam, embodying "The Honorable Hero," operates outside dissonance, approaching life like a free-spirited child. Gerdāfarid recognizes society's need for a hero and steps up after his community suffers a "collective defeat" due to Hajir's captivity. He encourages Sohrab to rise above this "humiliated" mindset by tapping into "The Hero Within." In the next scenario, Gerdāfarid confronts challenges through "Heroic Insight," relying on intelligence when faced with defeat. Sohrab, driven by the urge to "Be Perfect," initially responds well but becomes trapped in deception. His "over-controlling perfectionist" mentality leads him to prioritize winning at all costs, ultimately resulting in his defeat due to Gerdāfarid's manipulation.

Abstract Due to the disagreements over the use of original and adapted literary texts in teaching a foreign/second language to non-Persian speakers, the present research determines the amount and degree of importance of the component indicators of original and adapted literary texts in teaching the Persian language to non-Persian speakers at beginner, intermediate and advanced levels by a survey method. So, a researcher-made questionnaire containing six items was prepared and given to 94 Iranian teachers with teaching experience in this field in a non-random accessible and targeted way. Analysis of the results using SPSS 22 software and one-sided chi-square and Friedman statistical tests showed that the sample population, believing that adapted literary texts have an element of literature, did not evaluate any of the indicators of this category as important at the elementary level due to the lack of proportion, unlike the intermediate and advanced. In general, due to anonymity, universality, importance in the global approach to language teaching, efficiency, and belonging to the contemporary period, more importance has been given to the adapted representatives of stories and prose than to the type of order and at the advanced level, because of the increase in the language and communication ability of Persian learners, original literary texts are considered important.