@article { author = {Aghapour, Farzaneh}, title = {The Representation of Ethnic Identity in Young Adult Novel The Tumultuous Plain: “You are not a Baloch! Even if you are, you may not be one of us!”}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {1-27}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.33713.1698}, abstract = {Farzaneh AghapourPersian Language and Literature, Faculty of Humanities, University of Guilan, Rasht, Iran.Email: farzaneh.aghapour@guilan.ac.ir  IntroductionEthnicity and ethnic identity are two essential and present-day issues in the field of cultural studies. As ethnicity plays an important role in forming the identity of young adults, YA literature, and in particular, YA fiction, can take benefit from ethnic representations. Iran has a great diversity of ethnicities; however, Iranian children and YA literature have not been able to fully represent ethnic heritages such as Turkish, Balochi, Turkomanish, Kurdish and Arabic. There are occasional portrayals of characters from these ethnicities and their customs and traditions in Iranian YA literature, but it is not certain to what extent their independent voices have been represented. Are they representatives of their people and their ethnic identities or actually marginalized by the ideology of the dominant discourse? Iranian YA literature needs narratives which would reflect the voices of ethnicities to the extent that the ethnic variety of this vast country deserves. Ethnicity has a great influence on forming adolescents’ identities; therefore, it is crucially important to see how YA literature and in particular, YA novels, treat ethnic identity. On the other hand, it is proper to say that the formation of ethnic identity is influenced by the authors’ attitudes toward the subject. DiscussionThis study investigates the local aspects and elements and the manner of representation of Balochi cultural features in the YA novel Tumultuous Plain by Ali Akbar-Kermani-Nejad, written in the genre of indigenous fantasy / science-fiction. Tumultuous Plain is a successful example of multi-cultural novels due to its attention to a minority group and its reliable portrayal of Balochi culture and ethnic identity. As the title of this novel suggests, the setting is a chaotic atmosphere burdened with identity issues and ethnic conflicts. The story is about the journey of a young Baloch boy called Kakaei who sets foot in the plain to prove the innocence of his father who is trapped in a mountain due to accusations of murder and betrayal of Baloch heads. The title of the novel reflects the inherent chaos of the narrative which involves drug smuggling, tension and collusion between Baloch heads as well as intra/extra-ethnic struggles. The dark picture on the cover intensifies this turbulence. Camel, desert tree and a skinny boy dressed in white Balochi clothes are signs of Baloch ethnic identity. In front of the boy, there is a ghost-like and faceless person in black clothes, who creates a binary opposition between blackness and whiteness and implicates a sense of threat, unsafety and even mythical opposition in the picture. The “plain” in the title signifies Balochi identity which has a “tumultuous” relationship with the political, economic and cultural elements of the outside world.Baloch people are a minority group who are marginalized by the dominant political and social discourses; therefore, they seek their survival in solidarity and in emphasizing on the preservation of their traditions and cultures. Despite their internal differences, Baloch people have a common sense of identity which is respectable not only for themselves but also for those who are attracted toward this ethnic group. This makes future generations undertake the task of preservation and continuation of Balochi culture.The author’s attempt to demonstrate the norms of Balochi life in the desert and presenting the local color in his novel leads to his creation of a localized genre of fantasy / science-fiction which has obvious affinities with the genre of magic realism in Iranian YA literature. Indigenous speculative literature is a new way of showing ethnic cultures to Iranian young adults who are used to reading western fantasy and science-fiction almost exclusively. Reading such examples of Iranian speculative fiction can help Baloch audiences to build self-esteem and to form a positive sense of ethnic identity. Furthermore, reading these types of narratives might also change the way others perceive Baloch ethnicity.The dominant discourse in Iran commonly provides negative depictions of Baloch ethnicity; therefore, the general public have a narrow and limited understanding of their culture, traditions and beliefs. Tumultuous Plain focuses on Baloch ethnicity from various perspectives and presents an overall positive picture of this minority group. Representing both the negative and the positive aspects of Balochi culture leads to a realist picture of this marginalized minority; but on the whole, being a member of Balochi society is described as an honor rather than a limitation. Akbar-Kermani-nejad has tried to introduce the cultural and ethnic interrelations faithfully to his readers.The novel reflects a wide range of ethnic traditions and customs. The adolescent protagonist, while believing in these traditions, starts a difficult and constructive journey through which he enters into a dialogue with his culture and undertakes the reformation of its limitations. By challenging the limitations, he succeeds in reviving the ethnic traditions in a new way while at the same time he reaches self-awareness in the context of Balochi culture. As a dynamic character, he makes effort to determine the boundaries of his identity, while he remains loyal to Balochi cultural framework and undoubtedly finds himself as a member of Balochi society.ConclusionWithout succumbing to idealization, Tumultuous Plain emphasizes the cultural capacities of Baloch people with the help of myths, religious and folk beliefs, and showing their interaction with their environment. The significance of this novel stems from the fact that it raises the rarely heard voice of a minority group in Iranian YA fiction and combines the environment of the desert with the elements of ethnic identity which are derived from the interaction between people and their environment. Nature and ecosystem have a great influence on the formation of identity, and fantasy elements such as conical tornados in the parallel universe and animal helpers have been created by the use of this desert ecosystem. Ethnic traditions, issues such as drug trafficking and the dominance of castes inside the ethnicity, along with the religious and mythological capacities of this ethnicity make the Balochi culture understandable and tangible for the reader. Some examples of the mythical representations in the novel are passing across the fire, the magic cup showing the whole world (jam-e-Jam), the earth-mother and the wise old man archetypes. The harmonic interaction of the multivalent genre of the novel which combines elements of local fantasy, science-fiction and magic realism, with both the ecosystem and fantasy elements of the novel, help the redefinition of the ethnic identity.    Akbar-Kermani-Nejad, A. (2019). Tumultuous plain (F. Aghapour, Ed.) (1st edition). Mehrab-e Qalam.Akrami, J. (2016). The stranger and the sea. The Publication of the Center for the Intellectual Development of Children and Adolescents.Browne, T. N. (2016). The intersectionalities of identity in young adult fiction with biracial protagonists. Thesis. Eastern Michigan University.Delgado, R. (1989). Storytelling for oppositionists and others: A plea for narrative. Michigan Law Review Association, 87 (8), pp. 2411–2441.Eliade, M. (2004). Myths, dreams and mysteries (R. Monajjem, Trans.). Elm.Engles, T. & Kory, F. (2013). Incarceration, identity formation, and race in young adult Literature: The case of monster vesus hole in my life”, English Journal, 102 (4), pp. 53-58.Fanuel H. D. (2017). Realism and magic in Latin American children’s books, in The Routledge companion to international children’s literature. Accessed on: 25 Sep 2019 https://www.routledgehandbooks.com/doi/10.4324/9781315771663.ch3Greene, W. L. (1998). Determinants of ethnic identity among adolescents in Hawai'i. Ph.D. dissertation, University of Hawai'i at Manoa.Hassan-Beigi, E. (1995). Roots in the deep. Barg.Hassani, H. (1978). Oath and taking oath. The Journal of Social Sciences, Vol. 7, pp. 33-38.Hughes-Hassell, S. (2013). Multicultural young adult literature as a form of counter-storytelling. The library quarterly: information, community, policy, 83 (3), pp. 212-228.Lampert, J. (2007). The whole world shook shifts in ethnic, national, heroic identities in children’s fiction about 9/11. Ph.D. dissertation, Center of Learning Innovation, Queensland University of Technology.Mailey, C. D. (2011). Racial identity and religiousness: Role of religion and racial identity on substance use in African American college students. Ph.D. Dissertation. The College of Graduate and Professional Studies, Indiana State.Nephew, I. J. (2009). An ethnographic content analysis of children’s fiction picture books reflecting African American culture published 2001-2005. Ph.D. Dissertation, Manhattan, Kansas State University.Pagni Stewart, M. & Atkinson, Y. (2009). Ethnic literary traditions in American children’s literature. Palgrave Macmillan.Rotherham, M. J. & Phinney, J. S. (1987). Ethnic behavior patterns as an aspect of identity. In Rotheram, M. J.& Phinney, J. S. (Eds.). Children’s ethnic socialization: Pluralism and development (pp. 201-218). Sage.Santos, D. J. D. S.; Palomares, N. B.; Normando, D. & Quintão, C. C. A. (2010). Race versus ethnicity: differing for better application. Dental press journal of orthodontics, 15 (3), pp. 121-124. https://dx.doi.org/10.1590/S2176-94512010000300015Seyyed-Abadi, A. A. (2006). Children and adolescent literature and prescriptive identity. The research quarterly of children and youth literature, Vol, 42, pp. 37-42.Seyyed Emami, K. (2009). Where do ethnic identities come from? First Line, 1st year, Vol. 7, pp. 15-32.Shoket Ghafleshi, E. (2013). Images of ethnicity, nationality, and class struggle in communist Albanian children’s literature and media. Bookbird: A journal of International Children’s Literature, 51 (4), pp 21-28.}, keywords = {Keywords: Indigenous literature,ethnic identity,science-fiction and fantastic YA novel,Ali Akbar-Kermani-Nejad,Tumultuous Plain}, title_fa = {بازنمایی هویت قومی در رمان نوجوان «دشت متلاطم» تو بلوچ نیستی... اگر هم باشی، از ما نیستی!}, abstract_fa = {چکیدههدف این پژوهش، یافتن عناصر و ویژگی‌های بومی رمان دشت متلاطم اثر علی اکبرکرمانی‌نژاد در ژانر فانتزی/ علمی‌تخیلی بومی است و جلوه‌های فرهنگی‌هویتی اقلیت‌های قومی در این رمان نوجوان واکاوی شده‌اند. دشت متلاطم از ابعاد گوناگون بر فرهنگ قوم بلوچ تمرکز دارد و در قالب تلفیقی از گونه‌های فانتزی و علمی‌تخیلی، مقتضیات زندگی و فرهنگ بلوچی را به تصویر می‌کشد. این رمان به‌دلیل برانگیختن صدایی کمتر شنیده‌شده در ادبیات نوجوان ایران و درآمیختن زیست‌بوم منطقه‌ی کویری با مؤلفه‌های هویت قومی اهمیتی ویژه دارد. این مؤلفه‌ها از دل تعامل میان انسان و طبیعت بومی به دست می‌آیند. یافته‌ها نشان می‌دهند که دشت متلاطم در ساختن هویت و انگاره‌ی قومی مثبت از بلوچ‌ها در چند محور گام‌هایی مؤثر برداشته است. سنت‌های قومی بازتابی گسترده در رمان دارند و نوجوان در عین توجه به سنت‌ها، با در پیش گرفتن سفری دشوار و سرنوشت‌ساز، وارد دیالوگ با فرهنگ می‌شود و ضمن خودیابی در بافت فرهنگ بلوچی، محدودیت‌های آن را به چالش می‌کشد و سنت‌های قومی را به شیوه‌ای نو احیا می‌کند. لباس بلوچی، حیوان‌های کویری که ارتباطی تنگاتنگ با انسان دارند، باورها و رسم‌های قومی، مسئله‌هایی همچون قاچاق مواد مخدر و نگاه طبقاتی درون‌قومی در کنار بهره‌گیری از ظرفیت‌های دینی و اسطوره‌ای زیست‌جهان بلوچی را برای مخاطب ملموس و شناخت‌پذیر می‌کنند. گونه‌ی سیال و چندگانه‌ی رمان نیز که میان فانتزی بومی، علمی‌تخیلی بومی و رئالیسم جادویی در نوسان است، هماهنگ با زیست‌بوم در خدمت بازتعریف هویت قومی قرار گرفته است. }, keywords_fa = {واژه‌های کلیدی: بومی‌نویسی,دشت متلاطم,رمان نوجوان,علمی‌تخیلی و فانتزی,علی اکبرکرمانی‌نژاد,هویت قومی}, url = {https://jcls.shirazu.ac.ir/article_5366.html}, eprint = {https://jcls.shirazu.ac.ir/article_5366_58ddb3ee6a4133a45484d5b97326628b.pdf} } @article { author = {Binazir, Negin}, title = {The Articulation of Two-Dimensional Insight in the Mythical Structure of the Novel Dear Squirrelfish}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {28-53}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.33653.1690}, abstract = {Negin BinazirAssistant Professor of Persian Language and Literature, University of Guilan  IntroductionTwo-dimensional insight or two-way thinking is one of the most fundamental mythical motifs that is recreated and reproduced in literature and fiction. Relying on two-dimensional/dual insights, the present essay analyzes and articulates the mythical concepts, phenomena and motifs in Fariba Dindar's novel Dear Squirrelfish. The two-dimensional infrastructure is intertwined in all the concepts and phenomena of the story. Nina is a teenage girl struggling with difficulties of puberty, experiencing both the world of childhood and the world of adulthood. Several dualities, including the experience of the ritual death / the process of transition and rebirth, and the connection between the meaning of her life and the death of her father; take place in layers of linear time (calendar and real) and circular time (mythical and infinite), as well as the tangible space of Nina's life and her mandala-like space. This study shows how Nina goes through her internal contradictions and conflicts in the process of writing letters to an unknown person, “Mr. fish”; and in achieving individuality and unity, she achieves both physical maturity and, by accepting the death of his father, peace and spiritual and social maturity. The Research Methodology, Background and Purpose of the StudyThe present essay, by presenting the hierarchical structure and dichotomous / binary thinking, states that in mythical thinking, like other human lived worlds, there are opposite and symmetrical concepts, but with the fundamental difference that the two opposite poles of the mythical world are not separated and distinct. In the world of mythology, different things can be seen as coexisting in one figure; for instance many themes such as numbers, time, space, infrastructure of the ritual of transition, the motif of the mother-gods (virgin mothers), the dual image of the dreadful kind mother and also in phenomena such as tree, water and snake.Many works of children and adolescent literature have been analyzed from a mythological point of view; examples in the adolescent fiction are Sara Hosseinpour's dissertation, "A Study of the Archetype of Journey in the Trilogy Persians and I"; Fatemeh Taremi's dissertation, "Mythology in Adolescent Literature of the Decade 2000-2010 from the Perspective of Levi-Strauss and Roland Barthes"; Reza Yazdani's Thesis, "The Analysis of the Mechanisms of the Ritual of Initiation in Young Adult Fiction"; and Fatemeh Zamani's article, "The Analysis of Meta-Textual and Hyper-Textual Relations in the novel Mystery of the Bird Mountain and Shahnameh”. The present study is different from the mentioned researches in two ways: firstly, in the mythological approaches of the researches mentioned above, the important two-dimensional motifs in the world of mythology have not been addressed independently; secondly, no research has been done on the novel Dear Squirrelfish. DiscussionTwo-dimensional insight is a symbol of the entanglement and coexistence of two opposite things in each other; the lack of distinction and separation and the entanglement and parallelism of concepts in the mythological realm results in the distribution of all components, phenomena and events in the general body of the space, so that they find meaning in the heart of the mythical time and space. According to Cassirer, “all contrasts and qualitative distinctions have a kind of spatial correspondence, and through this common relationship, it is as if heterogeneous elements communicate with each other” (Cassirer, 2017: 157). Mythical time is a non-linear and qualitative time, sacred and reversible, in which there is no sequence or order between events.The novel Dear Squirrelfish pictures the coexistence of two seemingly contradictory domains inside Nina. Nina is the name of the main character, but she calls herself a squirrelfish since she considers herself both a squirrel and a fish, a creature which can live both on land and at sea simultaneously. There are no dates on the letters that Nina receives, each of which is ended with the words: "Today; at this hour; Mr. Fish." The letters reach Nina in calendar time and in a natural space, but they are not written in the context of calendar time. In Nina's two-dimensional world, everyday time is linked to Minoan and mythical times, and in this connection, the phenomena of this world are used. These phenomena first of all create a mandala-like space. The sacred space of Nina is both a place where she has lost her father and is disturbed, and in a rotation in the same place, she acquires the father of another kind and finds peace (see Dindar, 2016: 15- 16, 94-95, 97, 100, 104).One of the most important rituals in mythology is the rite of transition / initiation. In the process of initiation, adolescent girls and boys face severe physical tests. The distinguishing feature of this rite for girls is that the initiation process for them usually begins with their first menstrual period and is always done individually (see Eliade, 2017: 187-213 and Eliade, 1989: 93-94). The rite of transition is in itself a two-dimensional rite, a combination of two seemingly contradictory and different things: death in one form and birth in another form, which occur simultaneously in one body. The first signs of maturity in squirrelfish are expressed in her encounter with the phenomenon of menstruation. "I run through the hall and the yard and get to the bathroom. The vortex in my stomach is coming out of my mouth. I hate toilets, too; the stench that makes me sick, and the sentences and words that are written on the doors and walls of the toilets, and the buckets at the corner of every bathroom which remind us that we are growing up” (Dindar, 2017: 64- 65).To get through the rituals of transition, the novice needs the help and guidance of a wise old man who shows the path in different ways. The squirrelfish goes through the thresholds of the ritual of transition step by step with the help of the letters by Mr. Fish; letters that have the wisdom of an old wise man. ConclusionThe wisdom of the guide / the wise old man in the form of letters from Mr. Fish prepares the squirrelfish step by step to face the fears, sufferings and bitter misfortunes of life (the death of her father and the acceptance of her physical changes and menstruation). Mr. Fish’s last letter reaches the squirrelfish when she has undergone a process of secrecy at the sacred place (near a tree and a lake) by cutting the squirrel-like hair and getting separated from the world of childhood. The letter states that the squirrelfish has grown up now and can deal with all her problems and issues, big or small. After passing the ritual of transition, the squirrelfish goes through her internal contradictions and conflicts, and on her quest for individuality and unity, she reaches physical maturity and, by accepting the death of the father, she achieves peace and spiritual and social maturity.   Sources:Beaucorps, M. D. (1997). Les symboles vivants (J. Sattari, Trans.). Markaz.Bierlein. J. N. (2010). Parallel myths (A. Mokhber, Trans.). Markaz.Campbell, J. (2017). The power of myth (A. Mokhber, Trans.). Markaz.Cassirer, E. (2017). Philosophy of symbolic forms (Y. Moghan, Trans.). Hermes.Chevalier, J. & Gheerbrant, A. (2006). The Penguin dictionary of symbols (Vol. 4) (S. Fazaili, Trans.). Jeyhun.Chevalier, J. & Gheerbrant, A. (2009). The Penguin Dictionary of Symbols (Vol. 3) (S. Fazaili, Trans.). Jeyhun.Coupe, L. (2011). Myth (M. Dehghani, Trans.). Elmi va Farhangi.Dindar, F. (2016). Dear squirrelfish: God has not created Sundays and Wednesdays for the fish. Hoopa.Eagleton, T. (2001). An introduction to literary theory (A. Mokhber, Trans.). Markaz.Eliade, M. (1989). Rites and symbols of initiation: The mysteries of birth and rebirth. (N. Zangoui, Trans.). Agah.Eliade, M. (2004). The myth of eternal return (B. Sarkarati, Trans.). Tahoori.Eliade, M. (2014). Images and symbols (M. K. Mohajeri, Trans.). Ameh.Eliade, M. (2017). Rites and symbols of initiation: The mysteries of birth and rebirth (M. K. Mohajeri, Trans.). Parseh.Eliade, M. (2017). Myth and reality (M. Salehi Allameh, Trans.) Parseh.Frazer, J. G. (2007). The golden bough: A study in magic and religion (K. Firoozmand, Trans.). Agah.Ghavimi, M. (2009). Descriptive value of characters' names in one thousand and one nights. in The world of one thousand and one nights (J. Sattari, Trans.) (pp. 51-69). Markaz.Harland, R. (2001). Derrida and the concept of writing. in Structuralism, post-structuralism and literary studies (F. Sojoudi, Trans.). Houzeh Honari.Harland, R. (2006). Literary theory from Plato to Barthes: An introductory history (S. Jorkesh, Trans.). Cheshmeh.Makaryk, I. R. (2006). Encyclopedia of contemporary literary theory (M. Mohajer & M. Nabavi, Trans.). Agah.Payandeh, H. (Ed.). (2014). Theories of novel. Nazar.Shayegan, D. (2003). The range of myth: Mohammad Reza Ershad's interviews with Dariush Shayegan and others. Hermes.Zimran, M. (2013). Transition from the world of myth to philosophy (4th ed.). Hermes.}, keywords = {Keywords: mythical thinking,two-dimensional insight,ritual of transition,Dear Squirrelfish,Adolescent Novel}, title_fa = {مفصل‌بندی بینش دووجهی در ساختار اسطوره‌ای رمان «سنجاب‌ماهی عزیز»}, abstract_fa = {چکیدهبینش دووجهی/ تفکر دوسویه­گی یکی از بنیادی­ترین بن­مایه­های اسطوره­ای است که در ادبیات و روایت­های داستانی بازآفرینی و بازتولید می­شود. در آگاهی اسطوره­ای فاصله­ی زمانی و مکانی امور، اشیاء و پدیدار ازبین­می­رود، عناصر ناهمگون و متضاد و همه­ی تمایزات و تقابل­ها به­گونه­ای درون فضا- مکان و زمان اسطوره­ای و مقدس توزیع، مفصل­بندی و معنا می­شوند. جستار حاضر با تکیه بر بینش دووجهی/ دوتایی به تحلیل و مفصل­بندی مفاهیم، پدیده­ها و بن­مایه­های اسطوره­ای در رمان سنجاب‌ماهی عزیز از فریبا دیندار می­پردازد. زیرساخت دووجهی در همه­­ی مفاهیم و پدیده­های داستان، درهم­تنیده و موازی پیش­می­رود. نینا دختر نوجوانی است که با دشواری­های سن بلوغ درگیر است: تجربه­ی توأمان جهان کودکی و ورود به جهان بزرگسالی، تجربه­ی مرگ آیینی/ فرایند آیین گذار و تولد دوباره و پیوستگی معنای زندگی خویش با مرگ پدر؛ همه­ی این دوسویه­گی­ها در لایه­لایه­ی دو زمان خطی(تقویمی و واقعی) و زمان حلقوی (اسطوره­ای و بی­کران) و مکان ملموس زندگی نینا و مکان ماندالاگونه­ی او پیش می­رود. این پژوهش نشان می­دهد که چگونه نینا در فرایند نامه­نگاری به شخصی ناشناس/ آقای ماهی از تضادها، تناقض­ها و درگیری­های درونی­اش می­گذرد و در رسیدن به فردیت و وحدت، هم به بلوغ جسمانی می­رسد و هم با پذیرش مرگ پدر، به آرامش و بلوغ روحی و اجتماعی دست می­یابد.واژه­های کلیدی: آیین‌گذار، بینش دووجهی، تفکر اسطوره­ای، رمان نوجوان، سنجاب‌ماهی عزیز.}, keywords_fa = {تفکر اسطوره‌ای,بینش دووجهی,آیین گذار,رمان نوجوان,سنجاب‌ماهی عزیز}, url = {https://jcls.shirazu.ac.ir/article_5459.html}, eprint = {https://jcls.shirazu.ac.ir/article_5459_30d09c6368ab24f2581359697ca90e19.pdf} } @article { author = {Jabare naserou, Azim}, title = {A Comparative Study of the Tale of Fereydun in Ferdowsi’s Shahnameh and Its Re-telling in the Village of Masarm, Fars}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {54-79}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.28015.1568}, abstract = {Azim Jabbareh NaserooAssociate Professor of Persian Language and Literature, University of Jahrom IntroductionFereydun is one of the most famous kings in Shahnameh and appears in many Persian texts. The attractions of the tales about Fereydun have made him a popular figure in folk tales from a long time ago. There is a narrative in the form of “naqqali” in the village of Masarm in Fars province which has never been written down, but is a very interesting though different narrative from then one in Shahnameh. An old “naqqal” (a traditional story-teller in Iran) by the name of “Khavar Qashang” in Masarm still narrates this version of the story. According to the narrator in the interview with the researcher, this tale has been told for children from a long time ago to promote their bravery. Khavar Qashang is now 115 years old; so, it can be presumed that this tale has been popular in the region and has gone through several modifications through time. These modifications have happened in different aspects: characters, incidents and the setting. Methodology, Review of Literature and ObjectivesThe researcher has first recorded the oral reproduction of the folk tale and then has compared the folk tale with the tale in Shahnameh by the use of the method of library research and with a comparative approach.There are a lot of scholarly works published about the character and adventures of Fereydun. Jalal Matini (1985) in “Various narratives about the childhood and adolescence of Fereydun” investigates motifs such as the role of the cow in the life of Fereydun and his family and also the name Barmayeh. More recently, Shahnaz Valipour Hafashjani (2017) has studied “The myth of Fereydun and its symbols, motifs and changes”. Ismail Normashiri (2014) has studies Fereydun’s divine and devilish aspects in “Analyzing the story of Fereydun based on dualism”. Mahmood Jafari Dehaqi and Ahmad Majidpour (2011) in “Fereydun’s club with the head of the cow and its origin” have referred to various texts, from Avesta to the Islamic period, in order to see why there is a head of a cow Fereydun’s club.Unfortunately, most of the people in the region have forgotten the folk tale. Undoubtedly, with the death of people like Khavar Qashang, these folk tales would be lost forever. Due to their significance in the studies about children’s literature, anthropology, mythology and Shahnameh Studies, the researcher has undertaken the task of recording the tale and conducting a comparative study of the folk tale with the tale in Shahnameh. DiscussionThe folk tale of Fereydun is a completely new and localized tale rather than a rewriting of the tale in Shahnameh. The Naqqali narrative is, at some points, very different from the story in Shahnameh. These are some examples:At the time of Fereydun’s birth in Shahnameh, three significant characteristics are mentioned: his glorious character, his shining face and his promise of grace for the whole world. But in the Naqqali version, the beginning of the story is greatly influenced by the belief of the local people which results in many differences in the tale; for example, while in Shahnameh the setting of the story is in Iran and India, in the Naqqali version the story happens in the region of Kohmareh-Sorkhi which includes Masarm; also, Fereydun starts to talk when he is still in the crib in the folk narrative, and upon his birth, it rains for seven days and nights, but there are no such things in Shahnameh.In Shahnameh, Zahhak is a king in the land of Arabs who is selected by Iranians to be their king, too; while in the naqqali narrative, Zahhak is in fact a seven-headed dragon which turns into a human shape during the day.There are also many differences between the story of Shahnameh and the naqqali narrative when it comes to the story of Kaveh. In the naqqali narrative, Kaveh is not a blacksmith but a skillful doctor who also knows how to cook; he does not go to Zahhak’s court alone but accompanied by a person named Soroush; and it is by Soroush’s command that he goes to Marzangoon, Fereydun’s hide-away, to pledge allegiance with him.The final part of the story, the fight between Fereydun and Zahhak, is also told differently in the two versions: in the naqqali narrative, Fereydun enters the court accompanied by a throng of people; so, Zahhak does not have a choice but to surrender. In both narratives, Fereydun intends to kill Zahhak, but is averted by Soroush. ConclusionThe comparative study of the story of Fereydun in Shahnameh and the naqqali narrative sheds light on these points: first, the naqqali narrative is similar to the Shahnameh story only in its basic plot elements. Second, since the 115-year-old narrator claims that she has heard this tale in her childhood, one can surmise that the tale has been popular in this region from a long time ago; however, it is not clear why it has gone through so many changes and modifications. Third, it can be said that most of the modifications in the story are direct results of its localization, which can be traced in three different aspects: words and expressions, beliefs and convictions, and the change in the setting of the story. Fourth, the naqqali narrative focuses mostly on Fereydun’s birth to adolescence and his sitting on the throne, without mentioning other incidents in his life. Fifth, the most important difference between the two sources is the Kaveh’s revolution. Sixth, three points can be made about the character of the story: About the characters in the story: a few characters, like Simorgh, are added to the story, while some characters, like Jamshid’s sisters and Kondro, etc. are omitted; most characters play different roles from their counterparts in Shahnameh; in Naqqali narrative, the narrators have tried to depict Fereydun and Faranak in a religious light.  }, keywords = {Keywords: Khavar Qashang,Naqqali narrative,Soroush,Zahhak,Fereydun,the cow}, title_fa = {بررسی تطبیقی قصه‌ی فریدون به روایت ماصرمی‌ها}, abstract_fa = {فریدون، پنجمین پادشاه نامدار کیانی است که داستان­های مربوط به او، بخش قابل‌توجهی از شاهنامه­ی فردوسی را به خود اختصاص داده است. در شاهنامه­، شمار کسانی که به همه­ی دوره­های زندگی آن­ها پرداخته شده باشد، بسیار اندک است. یکی از این شخصیت­ها فریدون است. ماجراهای مربوط به فریدون در میان عامه­ی مردم نیز نفوذ گسترده­ای یافته است. یکی از این گونه روایت­ها، روایت یکی از نقالان روستای ماصرم-روستایی در 40 کیلومتری جنوب غرب شیراز- به نام «خاور قشنگ» است. نگارنده، نخست به شیوه­ی میدانی، این روایت را ثبت کرده، سپس به بررسی تطبیقی آن با روایت شاهنامه­ی فردوسی پرداخته است. یافته­های پژوهش نشان می­دهد راویان و نقّالان کوشیده­اند برای پذیرش این داستان در میان مردم منطقه، دست به بومی­سازی بزنند. به­دیگرسخن، این روایت جز در برخی خطوط داستان، کمتر شباهتی به روایت شاهنامه دارد و یکسره متفاوت شده است. بررسی این روایت نشان می­دهد که نقالان افزون بر روایت شاهنامه، به عناصر بومی و باورهای عامیانه، روایت­های مذهبی و نیز اسطوره­های کهن توجه داشته­اند. به­طورکلی می­توان­گفت تفاوت­های دو روایت در سه بخش قابل­بررسی است: حوادث، شخصیت­ها و مکان­های رخدادها. }, keywords_fa = {واژه­های کلیدی: خاور قشنگ,روایت نقّالی,سروش غیبی,ضحاک,فریدون,گاو}, url = {https://jcls.shirazu.ac.ir/article_5372.html}, eprint = {https://jcls.shirazu.ac.ir/article_5372_d589b61c5eb50ecb819f1611f222bb2c.pdf} } @article { author = {Rezaei, Hamid and najafibehzadi, sajad}, title = {A Comparative Study of Life Skills in the Young Adult Novels of Erich Kästner and Farhad Hassanzadeh}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {80-106}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.31642.1647}, abstract = {Hamid Rezaei, Ph.D.Associate Professor of Persian Language and Literature, Payam-e Noor University Sajad Najafi Behzadi, Ph.D.Assistant Professor of Persian Language and Literature, Shahrekord University IntroductionFor entering society, children and adolescents need to learn some skills that help them face life's challenges and problems. Life skills program is one of the individual-focused strategies that enhances people’s tolerance and increases their capacity to deal with challenges, conflicts and hardships of everyday life and protects them against these problems. Accordingly, we need to employ life skills such as decision-making skills, problem solving, creative thinking, critical thinking, self-awareness, communication, anger management, etc., to deal with our environment. We need to find the most appropriate approach to get the highest efficiency. Pittman defines life skills as abilities, knowledge, attitudes, and behaviors that are taught for achieving happiness and success in life. These skills enable people to adapt to their situations, and through the development of these skills, people learn to lead a comfortable life with others and to feel safe (Kaveh, 2012: 32, quoting Pittman, 1997). The aim of this study is to investigate life skills in the novels of Farhad Hassanzadeh and Erich Kästner, two authors of children's literature in Iran and Germany, in order to delineate which skills are more frequent in the works of these two authors. Research Methodology and Review of LiteratureThis essay uses quantitative and qualitative analysis of the content of the two authors' works. In the quantitative analysis of the content of works, the focus is on the frequency of an analytical unit such as a word, and in a qualitative study, data and tests are analyzed to discover the meaning of the text (Sarukhani, 2003: 287).No research has been done on the subject of life skills in the young adult novels of Erich Kästner and Farhad Hassanzadeh; however, there are some studies about the subject in other works:Nahid Karimi and her colleagues (2017) in their article, “The effects of life skills on the creativity of elementary students by the use of storytelling”, came to the conclusion that teaching life skills through storytelling enhances the creativity of elementary students.Saeed Hesampour and his colleagues (2015) try to show how the meaning of life is reflected in their article, “A comparative study and an analysis of the reflection of the meaning of life in Three people in the snow by Erich Kästner and Thirty men and thirty birds by Akbar Sahraei”.Maryam Omidinia and her colleagues (2013) focus on the life skill of critical thinking in their article, “A study of critical thinking skills in selected Persian adolescent novels of the 1980s”. DiscussionLife skills are more frequently used in Hassanzadeh’s novels. Among Hassanzadeh's novels, Call me Ziba presents life skills more frequently than others. Empathy skills are used more frequently than other skills in the novels of the two authors. Skills such as critical thinking, creative thinking and problem solving have a lower frequency. They appear even less in Kästner’s works than in Hassanzadeh's. Focusing on empathy skills increases empathy and intimacy between the characters of the story and the readers; and this intimacy is later expanded to the family and the community; nevertheless, it is important to note that skills such as problem solving, decision making and critical thinking are essential in teaching children and adolescents how to deal with life problems. Thinking is the language of the mind, and critical thinking enables people to analyze, deduce, evaluate, and draw conclusions. Critical thinking provides the grounds for reasonable decision-making. From the age of seven, children compare their experiences with new findings. ConclusionIn the novels of the two authors, empathy skills are more frequent while critical thinking, creative thinking and problem solving are less frequent. Life skills are more frequently used in Farhad Hassanzadeh's works than in Erich Kästner’s works. In Kästner’s works, child and adolescent characters use the skill of critical thinking, while in Hassanzadeh's works, this skill is usually used by adult characters. Among the novels analyzed, the two novels Call me Ziba and Strange sisters display the use of problem-solving and empathy skills more than other works. In Hassanzadeh's novel Hasti, the skill of empathy has a very high frequency compared to other works. Hasti is a teenage girl whose meaningful connection and empathy with Uncle Jamshid can be significant for the audience. ReferencesAlborz, F. (2007). The effectiveness of life skills training based on the World Health Organization program. Master's thesis, Allameh Tabatabai University.Bahrami, F., Moazedian, A. & Hosseini, S. A. (2013). Effectiveness of problem-solving and decision-making skills training on reducing the positive attitude of opioid addicts. Journal of Addiction Research, 7 (25), pp. 57-72.Emami, N. (2004). Life skills. Welfare Organization Publishing.Finke, Regina (2002). Sexual education of children: Familiarity with the stages of sexual development of children (L. Lafzi, Trans.). Zikr.Fisher, R. (2006). Education and thinking (F. Kianzadeh, Trans.). Rasesh.Fisher, R. (2007). Teaching thinking to children (M. Safaei Moghadam, Trans.). Rasesh.Ghiyasi, M. (2011). Critical thinking, child and media. Scientific-Specialized Quarterly of Children, Adolescents and Media, First year, No. 1-2, Summer and Autumn, pages 55-79.Golshiri, A. (2001). Story and critique of story (Vol. 1). Negah.Hassanzadeh, F. (2015). Call me Ziba. Publication of the Center for the Intellectual Development of Children and Adolescents.Hassanzadeh, F. (2010) Hasti. Publication of the Center for the Intellectual Development of Children and Adolescents.Kästner, E. (2006). Bird class (A. Pakbin, Trans.). Center for the Intellectual Development of Children and Adolescents.Kästner, E. (2015). Strange sisters (A. Pakbin, Trans.). Center for the Intellectual Development of Children and Adolescents.Kaveh, Z. (2012). The effect of life skills training on the satisfaction and adjustment of married women. Master Thesis in Counseling and Psychology, University of Isfahan.Khosrownejad, M. (2003). Innocence and experience: An introduction to the philosophy of children's literature. Markaz.Klinke Chris, E.L. (2004). Life skills (S. Mohammadkhani, Trans.). Sepand Honar.Kokabi, M., Hori, A. & Maktabifard, R. (2010). A study of critical thinking skills in children and adolescent stories. Shiraz Journal of Children Literature Studies, First Year, 2nd Issue, pp. 157-193.Maktabifard, L. (2015). Child of story and critical thinking. Publication of the Center for the Intellectual Development of Children and Adolescents.Maruska, D. (2004). How great decisions get made (R. Eftekhari, Trans.). Bamshad.McKee, R. (2003). Story, structure, style and principles of screenwriting (M. Gozarabadi, Trans.). Hermes.Meyers, C. (1986). Teaching students to think critically: A guide for faculty in all disciplines (K. Abili, Trans.). SAMT.Niknejad, S. (2006). Global life skills education. Roshd Magazine, Fifth Year.Norton, D. E. & Norton, S. (2003). Through the eyes of a child: An introduction to children's literature (M. Raei, Trans.). Qalamro.Raufi, M. H. (1998). Classroom behavior management. Beh-Nashr.Safaei, A., Adhami, H. (2014). The manifestation of humor techniques in the plot of Hassanzadeh’s stories. Journal of Persian Language and Literature Research, No. 32, pp. 119-166.Sarukhani, B. (2003). Research methods in social sciences. Institute of Humanities and Cultural Studies.Seif, A. A. (2006). Educational Psychology. Agah Publishing.Shaari-nejad, A. A. (2006). Group and social activities. Monadi Tarbiat Publishing.Shaari-nejad, A. A. (1370). Children's literature. Ettelaat Institute Publishing.Shafi-abadi, A. (2006). Theories of counseling and psychotherapy. Markaz Daneshgahi Publishing.Shah-Ahmadi, M. R. (2011). The necessity and role of life skills education for children and adolescents in the media. Quarterly Journal of Children, Adolescents and Media, 1 (2), pp. 15-22.Tarmian, F. (1383). Life skills. Tarbiat Publications.}, keywords = {Farhad Hassanzadeh,Erish Kestner,Life Skills,novel}, title_fa = {بررسی تطبیقی مهارت‌های زندگی در رمان‌های(نوجوانان) اریش کستنر و فرهاد حسن زاده}, abstract_fa = {مهارت­های زندگی یکی از راهبردهای مهم و ضروری است که از طریق افزایش توانایی کودکان و نوجوانان، ظرفیت آنان را در جهت مقابله با چالش­ها و کشمکش­های زندگی ارتقا می­دهد و آنان را در برابر مشکلات ایمن می­سازد. ژانر ادبی رمان، قالب مناسبی برای انتقال مهارت­ها و تقویت آن­ها در کودکان و نوجوانان است. هدف این پژوهش بررسی مهارت­های زندگی (همدلی، تصمیم­گیری، حل مسئله، خودآگاهی، مهارت فردی و تفکرخلاق) در رمان­های فرهاد حسن­زاده و اریش کستنر (Erich Kastner) است. روش پژوهش به صورت تحلیل کمی و کیفی محتوای آثار است. نتایج پژوهش نشان داد که مهارت همدلی، نسبت به دیگر مهارت­ها، کاربرد بیشتری در آثار حسن­زاده و کستنر دارند. مهارت­هایی نظیر، تفکر انتقادی، تفکر خلاق و مهارت حل مسئله بسامد کمتری داشته­اند. نکته­ی دیگر اینکه مهارت­های زندگی در آثار فرهاد حسن­زاده در مقایسه با اریش کستنر، بسامد بیشتری دارند.}, keywords_fa = {اریش کستنر,رمان,فرهاد حسن‌زاده,مهارت‌های زندگی}, url = {https://jcls.shirazu.ac.ir/article_5165.html}, eprint = {https://jcls.shirazu.ac.ir/article_5165_da32477a89363128cc351bb818f1245b.pdf} } @article { author = {Rezaei Dill, Mostafa}, title = {The Role of Function in the Fashioning of the Style: A Comparative Study}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {107-128}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.28186.1570}, abstract = {Mostafa Rezaei DeilPh.D. in Persian Language and LiteratureIntroductionThe function that a writer imagines for his/her literary work is a very influential factor in fashioning the style of the work. As such, with a different function, a similar content may lead to the production of literary works that, from a stylistic point of view, are totally different. In the present study, the styles of two texts are analyzed and the relationship between their stylistic traits with their intended functions is also taken into account. The two books are Nora Gaydos’s Mr. Monkey’s Friend, which is a children’s story, and Nasser Keshavarz’s Mr. Moni and Mrs. Joni which is an Iranian adaptation of the former book. The book Ape Date, which is called in this research by the title of its Persian translation, Mr. Monkey’s Friend, has 12 pages, the first of which presents the educational objectives of the book and the last of which presents a few questions about the story. Keshavarz has written his “tale-songs”, a collection of 12 volumes, based on some of the books in the collection “Now I’m Reading” written by Gaydos and illustrated by B.B. Sams. Methodology, Review of Literature and Purpose of the StudyThe study of the style of literary works has a long history in Persian language. In the field of children’s literature, too, there are some books and articles in which stylistic studies can be found.Although the two books selected for this study have similar contents, one of them is in English and written for the English audience and the other one is in Persian and intended for the Persian audience; therefore, this study can be regarded as a comparative study, too. The researcher tries to compare the two children’s books that have similar plots and illustrations in order to show how different objectives and functions in the minds of the two writers has led to the creation of totally different styles. DiscussionA close look at Gaydos’s book reveals that it has very few words; each page contains an illustration accompanied by only 2 to 11 words; and with the help of the illustrations, these few words and sentences narrate a very simple story. Therefore, one can consider the book a picture book. In this book, what the text narrates remains at the level of a very simple plot, since the words do not focus on the details of the scenes and conflicts and the narrative is mainly presented by the illustrations. The limited number of words are repeated in different pages of the book and most of them have phonetic order and rhythm.Nora Gaydos’s book can be called an easy-to-read storybook because it has a plot. This is the plot of Gaydos’s book: the grey monkey bakes a cake and waits for his friend for some time; Then, he eats the cake alone. Afterwards, his friend arrives.” The plot of the book Mr. Moni, Mrs. Joni is the same. Keshavarz remains faithful to the main plot of the story but creates a verse tale by adding details about characters, incidents, scenes and other elements of the story.What Keshavarz intends as the ultimate functions of his book are “helping the mental growth of children, and improving their memory and language learning” beside making a happy and enjoyable time for the children. To achieve these objectives, he has written a verse tale which has these stylistic traits: sentences with neat syntax and close to the spoken language without the dislocation of grammatical parts, the use of simple and colloquial language and expressions, the presence of a delicate humor along with various types of word rhythms including internal and external music. Interacting with each other, these stylistic traits have created a verse tale which attracts children greatly and invites them to read or listen to it several times while having a happy time. The vocabulary is also relatively extensive and varied but simple and is suitable for children’s level of understanding. These traits improve the mental and linguistic abilities of children and help them to memorize this rhythmic story without any obligation, and then reproduce it from their memory. This not only helps the mental growth of children, but also improves their memory and is in line with the objectives mentioned by the writer. ConclusionAlthough the main plots of the two books are the same, one of the main stylistic characteristics of Keshavarz’s Mr. Moni, Mrs. Joni, is the attention to details. This distinguishes it from Gaydos’s book and produces a more complete, mature and fluent story than the simple and elementary book by Gaydos. Keshavarz’s book is not a picture book like Geydos’s; rather, it is an illustrated storybook. Ape Date is a story in an educational collection that is intended to make young kids familiar with long vowels in English language with the help of simple stories. By asking some simple questions about the story and the consonantal words, the writer tries to make the audience engaged with the story and persuade him/her to find the consonantal words in the text and make sentences with them in order to comprehend them completely.The two books are very different from each other in their story-telling and linguistic styles and other literary aspects; so much so that Keshavarz’s work can be regarded as a recreation of Gaydos’s book. The comparison of the stylistic characteristics of the two books reveals that the differences in these characteristics need to be understood in the context of their writer’s objectives and their functions.    }, keywords = {Keywords: Objectives and functions,Gaydos,Keshavarz,stylistic characteristic}, title_fa = {نقش کارکرد در شکل‌گیری سبک: یک بررسی تطبیقی}, abstract_fa = {یکی از مسائل تأثیرگذار در شکل‌گیری سبک یک اثر ادبی اهداف و کارکردهایی است که مؤلف برای اثر خود درنظردارد؛ برهمین­اساس یک محتوای واحد، متناسب با اهداف و کارکردهای گوناگون، می‌تواند اساس تولید آثار ادبی کاملاً گوناگونی از نظر سبکی شود. پژوهش حاضر کوشیده است با مبنا قراردادن این اصل، دو کتاب کودک را که طرح داستانی و تصویرپردازی یکسان دارند، بررسی کند و با روش کیفی و رویکردی توصیفی-تحلیلی نشان دهد چگونه اهداف و کارکردهای مختلف، دو سبک کاملاً متفاوت را ایجاد کرده است. در این جستار داستان Ape Date اثر نورا گیدوس با داستان «آقای مونی خانم جونی» اثر ناصر کشاورز از منظر سبک‌شناسی مقایسه شده است. بررسی سبکی این دو اثر نشان می‌دهد، هرچند این دو کتاب محتوای یکسانی دارند، اهداف متفاوت مؤلفان آن‌ها سبک‌های کاملاً متفاوتی را شکل داده است. کتاب Ape Date اثری ادبی-آموزشی است که می‌کوشد تلفظ صحیح بعضی صامت‌ها و مصوت‌ها را به نوآموزان زبان انگلیسی بیاموزد. پدیدآورندگان این اثر یک «کتاب تصویری داستانی آسان‌خوان» تألیف کرده‌اند که تعداد کلمه­ها در آن بسیار معدود و متناسب با اهداف آموزشی، کتاب و جمله­ها بسیار ساده و کوتاه هستند؛ اما کتاب «آقای مونی خانم جونی» یک «داستان مصور» است که می‌کوشد با روایتی منظوم همراه با بیان جزئیات صحنه‌ها و کنش‌ها، کودک را به خود جذب کند و او را به شنیدن و خواندن چندباره و به‌ذهن‌سپاری داستان و بازگویی آن برانگیزد و از این طریق به «رشد ذهنی، تقویت حافظه و زبان‌آموزی» او یاری رساند. }, keywords_fa = {اهداف و کارکردها,کشاورز,گیدوس,ویژگی سبکی}, url = {https://jcls.shirazu.ac.ir/article_5839.html}, eprint = {https://jcls.shirazu.ac.ir/article_5839_4d2a2a42444e7a74e301c360e87476f2.pdf} } @article { author = {Zaheri abdevand, Ebrahim}, title = {The Comparison of the Story “Good and Evil” in Nezami’s Haft-Peykar with Its Rewriting in Bakhtiari Dialect in Terms of Narrativity}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {129-159}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.29843.1613}, abstract = { Ebrahim Zaheri AbdevandAssistant Professor of Persian language and literature, Shahrekord University  IntroductionThere are different types of rewriting and recreating, one of which is the rewriting and the recreating of the classic Persian texts for children. This can be done in the standard language or in one of the dialects. At any rate, creative writers can use this method to make children familiar with classic Persian works and create a link between the culture of today and of yesterday. This plays an important role in preserving the cultural identity in every society. Rewriting and recreating lead to the reconstruction of the cultural and social past of a nation tailored to the present time; and in this way, the individuals, especially children and adolescents, can get familiar with different components of that culture and society and adopt their identity from that culture. Nizami's works are among the literary works which have received attention from various poets and writers of the past and the present and they have been recreated or rewritten in different ways. The present research aims to compare the "Good and Evil Tale" in Haft Peykar with its rewritten narrative in Bakhtiari dialect based on Nikolajeva's theory with regard to the narrativity of the children's literature. The reason behind choosing Nikolajeva's theory is that she has paid attention to the narrativity in children's literature and proposed the narratology theory for children's literature. Method, Objectives, and Research BackgroundThis study is conducted using a documentary method. There are quite a number of scholarly articles, books and theses on the subject of rewriting and recreating, which have either compared the original text with the rewritten one in terms of the story elements or have explored the characteristics of the rewritten texts. Shaykh dar Bouteh by Jafar Payvar, "Rewriting the narrative poems Panj-Ganj [Five Treasures] in the contemporary literature of Iran" by Khorshid Nourouzi, "The analysis of the approach of Nizami studies in Iranian researchers' books from 1921 to 2005" by Jamshid Nourouzi et al., "Golestan [The Rose Garden] and adolescents:  The investigation and analysis of rewriting  patterns of Golestan stories for adolescents" by Sajjad Najafi et al., "A look at rewriting of Masnavi-ye-Ma'navi for children and adolescents" by Farzaneh Okhovvat, "Character building and characterization in the works adopted from Masnavi-ye-Ma'navi for children and adolescents" by Yousef Nayyeri and Parvin Mortezaei, and "Taking a glance at the story elements in rewriting the sweet tales of Kelileh va Demneh for adolescents" by Jahangir Safari et al., are a handful of examples. However, no study has been undertaken with regard to the objective of this research, i.e., the comparison of the story of “Good and Evil" in Haft Peykar with its rewriting in Bakhtiari dialect based on Nikolajeva's narratology theory. DiscussionIn the beginning of the story, the rewriter has tried to add an introduction to the main story, which can help the child understand the story more easily. Considering the conflict and suspense, in the Bakhtiari narrative, the suspense of the character has been omitted and the suspense of the status –whether the characters get out of poverty or not– has been added to the story. Additionally, the suspense of the adventure is modified compared to Nizami's narrative. In terms of the subject of the conflict, the first conflict in Nizami's narrative is the dry and scorching desert, but in the Bakhtiari narrative, it is poverty and deprivation. Adding this kind of conflict to the main story shows that in the rewriter's view, children in Bakhtiari culture must be prepared to deal with life problems from the very beginning of the tale. In the Bakhtiari narrative, the crisis point of the story is more emotional because the family of the good and the family of the evil are both present, and finally the evil becomes ashamed in the presence of the family. It is in fact shown that the result of telling lies is being rejected by the family. In both narratives investigated, the characters are either good or evil given the classic structure of the story; so much so that the name of the two characters indicate this issue: good is the representative of humans with good habits and evil is the manifestation of bad people. Therefore, one can infer that the writers of both narratives have used characters as moral models. The theme of Nizami's narrative is that good people finally achieve happiness, but bad people fall into misery. The Bakhtiari narrative, however, adds the themes of sacrifice, forgiveness, and justice to the text. In terms of timeliness, the two stories are narrated without anachrony. In the Bakhtiari narrative, attempts have been made to change the story place based on the lived experience of the audience. This indicates that in the rewriter's view, the story can be attractive and effective for children when the events reflect their lived experiences. In both narratives investigated, omniscient point of view is employed; however, in the Bakhtiari narrative, the narrator’s presence is felt more in the story because he provides much more information to the audience. In both stories, the focalization is of an external type. In the Bakhtiari narrative, the focalizer narrator who has unlimited knowledge plays a significant role in creating the mindset of the child readers and guides them in a biased way, by supporting and providing positive descriptions of good everywhere and damning the evil at the end of the story.  ConclusionIn terms of narrativity, unlike Nizami's narrative, the story of the Bakhtiari narrative begins with an exposition and introduction so that the child can understand the story more easily. Considering character and characterization, the structure of classical stories is dominant in both narratives and the characters are the manifestations of absolute good and evil. The low attention to the character's physical features in Bakhtiari narrative is inconsistent with the characteristics of children's literature in Nikolajeva's view. In terms of timeliness, the two stories are narrated in a linear process without anachrony. The story time investigation in terms of duration and frequency shows that in the Bakhtiari narrative, changes have been made to show the importance of some events. The place of story in the Bakhtiari narrative has also changed to a nomadic environment to reflect the lived experience of the audience. The narrators of both narratives are the external focalizer narrators who, with their unlimited knowledge, exhibit the inside and outside of the characters to the reader. In the Bakhtiari narrative, this focalizer narrator describes the characters more often. In these two narratives, the significant difference exists between the focalized characters. In fact, the rewriter has tried to affect the child reader by highlighting the negative features of the evil character. ReferencesAdoum, J. E. (1993). Veneno de mitos. Seventeen articles about children's literature (L. Imani, Trans.). Children's Book Council.Barahani, R. (1990). Story-writing. Alborz.Bickham, J. M. (2009). Scene and structure in the story (P. Khosravi Samani, Trans.). Rasesh.Biniyaz, F. (2013). An introduction to story writing and Narratology. Afraz.Bridgeman, T. (2012). Time and place in the narrative. In Horri, A. (Trans.). Narratology: A guide to understanding and analysis of fiction. Leqa-e Nour.Dibell, A. (2008). Plot (elements of fiction writing) (M. Talaei, Trans.). Rasesh.Ismaeillou, S. (2010). How to write a story. Negah.Jouve, V. (2015). La poétique du roman (N. Hejazi, Trans.). Elmi Farhangi Publications.Mandanipour, S. (2016). Ghosts of Shahrzad; New story structures, tricks and forms. Qoqnous.McKee, R. (2013). Story: Style, structure, substance and the principles of screenwriting (M. Gozarabadi, Trans.). Hermes.Mirsadeqi, J. (2008). Elements of fiction. Sokhan.Mohammadi, A. & Baharvand, A. (2011). Conclusion in fiction from an educational approach. Journal of Educational Literature, Third year, No. 11, pp. 111-134.Nayyeri, M. Y. & Mortezaei, P. (2013). Character building and characterization in the works adapted from Mathnavi-ye-Ma'navi for children and adolescents. Children's Literature Studies, Fourth Year, No. 1, pp. 137-159.Nikolajeva, M. (2007). Changing the aesthetics of the character in children's story. In Shahbazi, I. (Trans.). The whole childhood: A collection of articles on children's and young adult literature). Sayeh-gostar.Nikolajeva, M. (2008a). Beyond the grammar of the story, or how can children's literature benefit from narrative theory. In Bozorg-mehr, G. & Khosronezhad, M. (Trans.). Inevitable re-readings: Approaches to criticism and theory of children's literature. Center for the Intellectual Development of Children and Adolescents.Nikolajeva, M. (2008b). Growing up, the dilemma of children's literature. in Bozorg-mehr, G. & Khosronezhad, M. (Trans.). Inevitable re-readings: Approaches to criticism and theory of children's literature. Center for the Intellectual Development of Children and Adolescents.Nizami, I. Y. (2007). Haft Peykar. (S. Hamidian, Ed.). Qatreh Publications.Nourouzi, J. et al. (2008). The analysis of the approach of Nizami studies in Iranian researchers' books from 1921 to 2005. Bi-Quarterly Journal of Persian Language and Literature Research, No. 10, pp. 55-72.Okhovat, A. (2013). Grammar of the story. Farda Publications.Okhovvat, F. (1970). A look at rewritten works from Masnavi-ye-Ma'navi for children and adolescents. Journal of Culture and Literature, No. 9, pp. 396-417.Payvar, J. (2001). Shaykh dar Bouteh: Rewriting and recreating and translation methods in literary works. Eshraqieh. Rezaei, H. & Zaheri Abdevand, E. (2013). The image of women in the folk tales of Bakhtiari culture. Journal of Women in Culture and Art. 5 (2), pp. 239-260.Rezaei, H. & Zaheri Abdevand, E. (2015). The status of woman and family in Bakhtiari proverbs", Bi-Quarterly Journal of Folk Culture and Literature. No. 6, pp. 21-42.Safari, J. et al. (2011). Taking a glance at the story elements in rewriting the sweet tales of Kelileh va Demneh for adolescents. Children's Literature Studies, Second Year, No. 2, pp. 77-101.Sanapour, H. (2014). A method for writing novels. Cheshmeh Publications.Seger, L. (2016). Creating unforgettable characters: A practical guide to character development in films, TV series, advertisements, novels & short stories (A. Akbari, Trans.). Amir Kabir.Tahmasebi, J. (2012). Owsane-haye Lordegan. Niusheh.Tobias, R. (2010). Theme in the story. (M. Talaei, Trans.). Rasesh.Younesi, E. (2009). The art of story writing. Negah Publications.}, keywords = {Keywords: rewriting,narrativity,Bakhtiari culture,Good and evil story,Nizami,Nikolajeva}, title_fa = {مقایسۀ قصۀ «خیر و شر» در هفت‌پیکر با بازنویسی آن به گویش بختیاری از نظر روایت‌مندی}, abstract_fa = {هدف این پژوهش، مقایسه­ی قصه­ی خیر و شر در هفت­پیکر نظامی، با روایت بازنویسی­ شده­ی آن در فرهنگ بختیاری از نظر روایتمندی است تا نشان داده شود با توجه به دیدگاه نیکولایوا درباره­ی روایتمندی داستان­های کودکان، روایت بازنویسی ­شده چه ویژگی­هایی یافته و همچنین نوع نگرش به کودک و انتظارها از وی در فرهنگ بختیاری، چه تأثیری بر بازنویسی داشته است. براساس این، عناصر داستانی در این دو قصه مانند شروع، تعلیق، گره­افکنی، پایان، شخصیت، زاویه­ی دید، زمان و مکان بررسی شد. نتایج پژوهش، نشان می­دهد بسیاری از عناصر داستان، تغییر داده شده است تا روایت بازنویسی­ شده، با فهم مخاطب کودک متناسب شود. همچنین نوع نگرش به کودکان در فرهنگ بختیاری، باعث تغییرهایی در قصه­ی بازنویسی­­شده گردیده است. پذیرش از سوی خانواده و شیوه­ی اعتماد به دیگران، ازجمله ارزش­ها و هنجارهایی هستند که در فرهنگ بختیاری، کودکان باید بیاموزند و در قصه­ی بازنویسی­شده نیز بر آن­ها تأکید شده است. نگرش منفی به خشونت، باعث شده است تا داستان پایان خوشی داشته باشد. نامناسب­دانستن موضوع عشق برای کودکان، موجب شده تا این صحنه در قصه­ی بازنویسی­شده بسیار خلاصه روایت شود. اهمیت­دادن به تجربه­ی زیستی کودکان و اصل همذات­پنداری، سبب شده است تا زمان و مکان داستان، به منطقه­ی عشایری بختیاری تغییر داده و در سن و نقش شخصیت­ها تغییرهایی ایجاد شود. با توجه به این مسئله که در فرهنگ بختیاری، کودکان باید در حل مشکلات زندگی نقش­آفرین باشند، در روایت بختیاری، برخلاف نگرش جبرگرایانه در روایت نظامی، شخصیت­ها نقش فعّال­تری یافته­اند.واژه­های کلیدی: بازنویسی، روایت­مندی، فرهنگ بختیاری، قصه ­ی خیر و شر، نظامی، نیکولایوا.}, keywords_fa = {بازنویسی,فرهنگ بختیاری,قصۀ خیر و شر,کودک,نظامی}, url = {https://jcls.shirazu.ac.ir/article_5292.html}, eprint = {https://jcls.shirazu.ac.ir/article_5292_1010f35a6c5a172218fc5ade71295061.pdf} } @article { author = {Momennasab, Mahsa and Karami, Mohammad hossein}, title = {Investigating Attitudes toward the City in Iranian Adolescent Poetry}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {160-185}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.30215.1621}, abstract = { Mahsa Momennasab, Ph.D. in Lyrical Literature; Shiraz University.momennasab.m@gmail.com Mohammadhossein Karami, Ph.D.; Professor of Persian Language and Literature, Shiraz Universitymohamadhkarami@gmail.com IntroductionIf we consider literature as an important tool in acculturation and interaction of human beings, and if we consider the city as the main context of human life in the contemporary era, we can detect the special role of literature in representing the facts and values of the contemporary urban societies in the works of poets and writers. Adolescent poetry as one of the achievements of contemporary literature can be a link between today's generation and the realities of today’s world. The increasing expansion of mass communication devices, internet games, numerous social networks and countless satellite networks make the teenagers’ lives and experiences wider and wider every day and expose them to a huge amount of colorful data in the shortest time.Nowadays, over the course of a few years, we have experienced a generation gap equal to multiple generations in Iranian history; therefore, the realities and the ideals of urban life should be presented in adolescent poetry as they are and as they should be in order to draw the readers' attention and make them familiar the world around them. Hence, it is important to investigate attitudes toward the city in adolescent poetry in order to identify poems with such contents and assess their correspondence with the perceptions of the readers.  Methodology and Review of LiteratureUsing a statistical and descriptive-analytical approach along with library and documentary tools, this study deals with the approaches towards the city in adolescent poetry.  From among the large number of children's and adolescents’ poets, 15 poets who were most prolific and experienced and belonged to different generations were selected. Then, from among the works of each poet, one to five acclaimed poetry collections were selected. As a result, 63 poetry collections were selected based on the criteria of the time of their composition (from 1979 to 2012), the number of their reprints and the awards they received. Afterwards, notes were taken from signs that were somehow related with elements of urban life.Apart from some short essays, there are only a few studies that focus on the relationship between the values of the contemporary life and children’s and adolescents’ literature; for example, some articles in volumes 45 and 46 of The Journal of Children’s and Adolescents’ Literature; as well as “The analysis of the urban environment and its elements in children’s and adolescents’ fiction from 1991 to 2000” (Asadi & Hassanli, 2011: 33–60); and “Studying the urban environment and its elements in children’s and adolescents’ stories” (Pirsoufi & Hassanli, 2011: 1-30), in which urban elements are identified in a number of short and long stories of the 1970s. However, no articles or texts related to the subject of this study and focusing on the genre of poetry were found. Discussion From among the 1026 poems in the 63 collections of adolescent poetry investigated in this study, 209 poems featured at least one element of the city or the urban life, either independently or in the form of comparison between urban and rural life, or in the combination of nature and the city.Elements of the urban environment can be found more in the works of some poets, such as Abbas Tarbon (26 times), Erfan Nazar-Ahari (18 times), Rudabeh Hamzaei (13 times) and Boyouk Maleki (18 times).The main theme is the bitterness toward the city and the obvious conflict between the city and the village and nature. There are several reasons for this conflict and alienation from the urban environment: differences in the structure of urban and rural life; the remembrance of sweet childhood memories in the village; the demolition of old buildings and houses in the city; the speed, the hustle and bustle, and the anxiety of urban environment.The elements and the instruments of the contemporary society comprise some of the images of adolescent poetry. Some of these instruments are technologies and machines with which we are constantly dealing in today's life; such as Pride (an Iranian brand of automobiles), Volkswagen and the highway (cf. Nazar-Ahari, 2007: 20), radio and news (cf. Mirzadeh, 2003: 60), bus (Tarbon, 2009B: 5-7; Lotf-Allah, 1995: 5-7; Mazinani, 1997), train (cf. Hamzei, 1997: 35), lights and electricity (Salehi, 1998: 26; Keshavarz, 1997B: 7; Kianoosh, 2000: 32-33) and cassette players (Shabani, 2001: 12).Only a limited number of cities, from among numerous cities in Iran with diverse cultures, are mentioned in the poems; namely, Tehran (Shabani, 2001: 13), Ahvaz (Shabani, 1996: 20; Kianoosh, 2000: 100), Masouleh (Nazar-Ahari, 2008: 12-13), Khomein (Mirzadeh, 1995: 4) and Isfahan (Kianoosh, 1994: 162).From among all the various occupations and organizations that are linked with the city, adolescent poets have paid attention only to a handful of persons: postman, street sweeper, potter, nurse, dentist, constructor, shoe-shiner, construction worker, factory worker, cigarette-seller, sugar-beet-seller dry-bread-gatherer, fruit- and vegetable-seller, peddler, teacher, florist and real estate agent. ConclusionFindings show that in adolescent poetry, the city has been mainly associated with a negative attitude. Praising nature, despising the city and comparing the polluted atmosphere of the city with the natural beauties of the countryside are the main themes of the poems. These works narrate the experiences of the poets' past lives with a stereotypically nostalgic view; therefore, they do not conform to the experiences of contemporary adolescents and cannot gain their attention.Many modern urban elements are missing in the adolescent poetry of the AH 70s and AH 80s. Even if they are mentioned in some works by some poets, they do not display a change in their intellectual system of thought. With a few exceptions like Abbas Tarbon, Erfan Nazar-Ahari, Rudabeh Hamzaei, Iranian poets do not show a tendency toward a fresh look at urban life, and their innovations are limited to the level of language, without taking advantage of new expressive affordances of contemporary poetry.   }, keywords = {Keywords: urban life,adolescent poetry,city and village,urban elements}, title_fa = {«بررسی چگونگی رویکرد به شهر در شعر نوجوان ایران»}, abstract_fa = {در این پژوهش کوشش شده، تا با رهیافتی آماری و توصیفی-تحلیلی، چگونگی رویکرد به «شهر» در شعر نوجوان، بررسی شود. برای این منظور 15 تن از شاعران کودک و نوجوان گزینش شدند، سپس از میان آن دسته از مجموعه­هایی که برای گروه­های سنی «ج تا ه» سروده شده بودند، یک تا پنج مجموعه­ی شعری برگزیده، انتخاب شد، تا با درنظرگرفتن سیر تاریخی اشعار، تناسب این مضمون برای نوجوانان و تحول آن تا سال1390 بررسی شود. نتایج نشان داد که شهرستیزی و طبیعت­ستایی، نارضایتی از مهاجرت به شهر، فقر شهری و بمباران شهرها در جنگ تحمیلی، رایج‌ترین مضامین در پیوند با رویکرد به شهر در شعر نوجوان هستند که اغلب، شایستگی­های لازم برای پذیرفته­شدن از سوی مخاطب را ندارند؛ همچنین، در رویکرد به عناصر زندگی شهری معاصر، مانند نام شهرها و فناوری­های جدید، فقط در شعر معدودی از شاعران تحول و نواندیشی صورت گرفته و در سایر آثار، در سطوح زبانی باقی مانده است. }, keywords_fa = {واژه‌های کلیدی: زندگی شهری,شعر نوجوان,شهر و روستا,عناصر شهری}, url = {https://jcls.shirazu.ac.ir/article_5166.html}, eprint = {https://jcls.shirazu.ac.ir/article_5166_f0537a416558eccc83ca7390896340b4.pdf} } @article { author = {Yadolahi Shahrah, Roya and Mahdavi, Mohamad Javad and Salehi Niya, Maryam and Amin Yazdi, Amir}, title = {Understanding the main problem of Young Adult literature based on the approach of existential psychology (Ernesto Spinelli)}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {186-216}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.29453.1607}, abstract = {    Authors Roya Yadollahi Shahrah (PhD Student of Persian Language and Literature, Ferdowsi University of Mashhad) Mohammad Javad Mahdavi (Assistant Professor, Dept. of Persian Language and Literature, Ferdowsi University of Mashhad) Maryam Salehinia (Assistant Professor, Dept. of Persian Language and Literature, Ferdowsi University of Mashhad) Amir Amin Yazdi (Associate Professor, Dept. of Psychology, Ferdowsi University of Mashhad)   Introduction In this article, with the assumption that it is needed to recognize young adult literature as an independent field of research, we have introduced the condition of this independence as defining the factor which distinguishes it from children and adult literature in the form of "the main problem of young adult literature". This main problem has been defined in various ways from the point of view of prominent theorists in this field (on the world), but it has not been introduced in Iran. Each view in the form of literary theory is based on a particular branch(es) of the humanities, but ultimately, the realm of the main problem of young adult literature is the philosophy of literature, because its purpose is to understand the nature of a part of literature. Existential psychology is one of the approaches in the common realm of psychology and philosophy, the specific attitudes and categories of which have not yet been applied in the field of literary theory. When examining theories related to the main problem of young adult literature, it seems that existential psychology also has the ability to explain the main problem of this kind of literature with its attitudes and categories; especially when we compare all the theories in this field, from the perspective of existential psychology, we will come to a kind of "interface" among all of them, which shows the necessity of the "feasibility assessing" of existential psychology to formulate the main problem of the young adult novel. This feasibility assessing shows the other capacities of this approach for theoretical and critical research in the field of young adult novels, so that some issues that can be raised in this field can be formulated and theorized with the categories and attitudes derived from this approach.   Research method Considering the main question of this research which is "feasibility study" and showing the attitudinal-categorical capacities of the approach of existential psychology in the field of theory and critique of young adult literature (specifically, young adult novels), the research method is a combination of descriptive-argumentative methods.   Literature review In Iran, the only research that has partially addressed the issue of the nature of young adult literature is Moradi (2016), which in fact, has analyzed the nature of "adolescents" in Iranian young adult novels and did not address the nature of "young adult novels" and its main problem. Outside of Iran, several scholars have addressed the main problem of young adult novels, but none have formulated it from the perspective of existential psychology. We have presented their views in the article.   Purpose of the research Given the capabilities of the categories and attitudes of the existential approach in psychology for literary theorizing in the field of young adult novels, the first step is to assess its feasibility in this area and identify areas and issues in which specific categories and attitudes of this approach can be applied. This feasibility assessing and grounding for designing a critical theory based on existential psychology and in the specific field of young adult literature (novel) has been the main purpose of this research, which is done in the first place, by focusing on the main problem of young adult literature which is a question in the field of philosophy of literature. Discussion On the main problem of young adult literature, we have presented five prominent and basic views of theorists in this field: 1. Maria Nikolajeva: has formulated the problem of adolescent literature in the form of departure from childhood innocence (descent) and entering adulthood (requiring the generation of ego through its changing and compatibility with others); 2. Seelinger-Tritse: The main problem of young adult literature, she suggested that, is to determine oneself status in the power structure (his/her power against the power of social institutions) and in the context of subjectivity; 3. Robyn McCallum: The main problem of adolescent literature is the transcendence from solipsism (the negation of other subjects or the transmutation into the subjectivity of others and the negation of one's own subjectivity) (understanding subjectivity in the context of agency); 4. Karen Coates: Defines the main problem of young adult literature as understanding how to live responsibly (harnessing one's monstrous-destructive powers and discovering one's creative and generative aspect of their identity with regards to others) by adapting one's values ​​to the growing globalization and technology; 5. Expanding Clementine Beauvais's view (Her theory is based on explaining the problem of children's literature and defining the child-adult relationship, but, we have also formulated the problem of young adult literature from the same perspective by expanding her view): Transforming the child's Might to adult authority through understanding its agency and its limitations. The important point in these views is that they are all designed in the form of a kind of dilemma, and all of them ultimately refer to the self-other relationship and seek the main problem of young adult literature through the self-other relationship. In the continue, we have presented the important attitudes and categories of existential psychology from the perspective of Ernesto Spinelli. The philosophical foundation of this approach is based on the definition of the ontological conditions of human existence: relatedness, existential uncertainty, and existential anxiety. Each self only makes sense if its foundation is in relatedness (the self-other relationship also finds meaning in this relatedness). The self constructs his meanings and, ultimately, his worldview through the worlding process, but the worlding also challenges the meanings, and as a result, the established meanings and worldview of the self are always exposed to threat. Some important concepts related to this basic foundation are: choice, freedom, responsibility and daemonic. In the next step, we showed that each of the views presented can be formulated based on the concepts of relatedness, choice, freedom, responsibility and based on the fundamental principles of existential psychology. Beyond that, these concepts introduce us to areas for research in the form of literary theory, which will be mentioned in the conclusion.   Conclusion The problem of young adult literature can be defined according to relatedness in a self-other relationship. Other concepts such as choice, freedom and responsibility, and daemonic are also discussed in the context of relatedness and can be used to explain the problem of young adult literature. The transcendence from solipsism is, in fact, the same understanding and action in the form of authentic choice, freedom, and responsibility. To control the self-destructive powers and the discovery and realization of adolescent identity can also be understood in the form of authentic responsibility. The concept of daemonic is useful in defining both the destructive and the generative parts of adolescent identity. The main application of this theoretical-critical branch can be considered as understanding the structure of the existence for the main characters of the story in their ontic representation, and the questions that existential psychology can answer in the form of literary or critical theory can be put forward in these areas: - The quality of the existential structure  of the main characters of the novel; - Determining the main concerns of young adult literature from the perspective of existential psychology; - Drawing the worldview of the main characters of the story and identifying the meanings, sedimentations and important dissociations in this worldview; - Drawing the possible developments in the worldview of the young protagonist throughout the story, - Drawing the relationship between worlding and worldview and the situation of the protagonist's worldview structure in reflecting the worlding experience. Using the categorical-attitudinal capacities of this approach in the above-mentioned areas requires the creation of "method(s)" appropriate to this approach in order to facilitate and regulate the application of these concepts and categories, and to guarantee the validity of research findings based on it. Other methods of psychological approaches may also be taken as a pattern in literary theory and criticism - if they are compatible with the principles and concepts of existential psychology.   key words Existential Psychology, Ernesto Spinelli, Theory of Young Adult Literature, the Main Problem of Young Adult Literature, Feasibility study   references 1. Moradi, Ali. (1395). “mafhoom-e nowjavani dar roman-e npwjavan-e Iran” ["The Concept of Adolescence in Iranian Adolescent Novel"}. M.A Thesis, Payame Noor University, Taft Center. 2.  Nikolajeva, Maria. (1387). “bozorq shodan, dorahi-e adabiyat-e koodak” ["Growing up, the Dilemma of children's literature."] Translated by Bozorgmehr, Ghazal. In Khosronejad, Morteza (editor), digarkhanihaye nagozir [In Question for the Centre]. Tehran: Institute for the Intellectual Development of Children and Young Adults. First Edition. 3. Jung, Carl Gustav. (1393). Ensan va sambolhayash [Man and his Symbols]. Translated by Mahmoud Soltanieh. Tehran: Jami. Ninth edition. 4. Beauvais, Clémentine. (2015). The Mighty Child: Time and Power in Children's Literature. John Benjamin B.V. 5. Coats, Karen. (2011). "Young Adult Literature: Growing Up, In Theory". In Wolf, Shelby A. et.al. (ed.), New York and London: Routledge (Taylor & Francis Group). Pp. 315-330. 6. Cohn, Hans. W. (1997). London: SAGE Publication. 7. Cooper, Mick. (2003). Existential Therapies. London. Thousand Oaks. New Delhi: SAGE Publication. 8. Grenz, Dagmar. (1995). "Literature for Young People and the Novel of Adolscence". In Nikolajeva (ed.), Maria. Aspects and Issues in the History of Children's Literature. Westport, Connecticut. London: Greenwood Press. 9. Jacobsen, Bo. (2007). Invitation to Existential Psychology: A Psychology for the Unique Human Being and Its Application in Therapy. West Sussex: John Wiley & Sons Ltd. 10. McCallum, Robyn. (2002). Ideologies of Identity in Adolescent Fiction: the dialogic construction of subjectivity. New York and London: Garland Publishing Inc. 11. Nikolajeva, Maria. (2002). "Growing Up: The Dilemma of Children's Literature". In Seel, Roger D. (ed.), Children's Literature as Communication. Amsterdam. Philadelphia: John Benjamin's Publishing Company. pp. 111-136. 12. Seelinger-Trites. Roberta. (2000). Disturbing the Universe: power and repression in adolescent literature. Iowa City: University of Iowa Press. 13. Spinelli, Ernesto. (2007). Practicing Existential Psychotherapy: The Relational World. Los Angles. London. New Delhi. Singapore: SAGE Publication.    }, keywords = {"Existential Psychology","Bo Jacobsen","Ernesto Spinelli","The Theory of Young Adult Literature","The Problem of Young Adult Literature"}, title_fa = {فهم مسئله‌ی اصلی ادبیات نوجوان بر مبنای رویکرد روان‌شناسی اگزیستانسیال (ارنستو اسپینلی)}, abstract_fa = {در این پژوهش به دنبال پاسخ‌گویی به این پرسش بودیم که آیا روان‌شناسی اگزیستانسیال (به روایت ارنستو اسپینلی) چارچوب مفهومی مناسبی برای فهم مسئله‌ی ادبیات نوجوان و پژوهش در این حوزه ارایه می‌دهد یا نه. بدین منظور، ابتدا مسئله‌ی ادبیات نوجوان را در چارچوب‌های نظری موجود تحلیل کردیم و دیدیم که همه‌ی آن‌ها درنهایت، مسئله‌ی ادبیات نوجوان را نمود نوعی دوراهی و تقابل میان خود و دیگری/جهان می‌دانند. پس از معرفی مختصر روان‌شناسی اگزیستانسیال نشان دادیم که می‌توان با تکیه بر اصل هم‌پیوستگی و مفاهیمی چون دیمونیک، انتخاب، آزادی و مسئولیت اصیل و غیراصیل، مسئله‌ی اصلی ادبیات نوجوان را صورت‌بندی کرد. در ادامه، الزامات خاصِ روش کاربرد این نظریه (کیفی، سوژه‌محور ومبتنی­بر توصیف) و زمینه‌های مناسب نظریه‌پردازی و نقد در این حوزه را بر مبنای روان‌شناسی اگزیستانسیال پیشنهاد کردیم.  }, keywords_fa = {واژه­های کلیدی: ارنستو اسپینلی,روان‌شناسی اگزیستانسیال,مسئله‌ی ادبیات نوجوان,نظریه‌ی ادبیات نوجوان}, url = {https://jcls.shirazu.ac.ir/article_5293.html}, eprint = {https://jcls.shirazu.ac.ir/article_5293_18279e8913658cd981eb6a60f4a620a6.pdf} } @article { author = {Yusefi, Sahar and Irani, Mohammad and Baygzade, Khalil and Azizifar, Amir Abbas}, title = {The Role and the Function of Religious-Historical Figures in Iranian Folktales}, journal = {Iranian Children's Literature Studies}, volume = {11}, number = {1}, pages = {217-242}, year = {2020}, publisher = {Shiraz University}, issn = {2008-8647}, eissn = {0616-2783}, doi = {10.22099/jcls.2019.33502.1684}, abstract = {   Sahar YousefiPh.D. candidate of Persian Language and Literature, Kermanshah University Mohammad IraniAssociate professor of Persian Language and Literature, Kermanshah University Khalil BeigzadehAssociate professor of Persian Language and Literature, Kermanshah University Amir Abbas AzizifarProfessor of Persian Language and Literature, Kermanshah University  IntroductionLegends and tales as branches of folklore literature have always maintained their relationship with history and religion and provided an appropriate context for recreating religious and historical figures. In this research, the four volumes of Iranian Folktales have been subjected to a descriptive-analytical study in order to show the role and function of religious-historical figures in them. The four-volume collection is an invaluable treasure of folktales which are gathered by Anjavi Shirazi and other researchers in the field of folk culture and literature from around the country.The analysis of the 211 tales in this collection shows that religious-historical figures appear in 42 tales. These figures are Prophet Soleyman [King Solomon], Imam Ali (the first Imam of Shiites), Satan, Alexander the King [Alexander of Macedonia], Khezr [Khidr], Prophet Mohammad, Hazrat Abbas [an important figure in Karbala] and Prophet Zechariah. Methodology, Review of Literature and Purpose of StudyFolktales have been analyzed from various perspectives and approaches by many researchers; for instance, Beizaei and Rahimi (2015) in “Studying the system of beliefs in categorized Iranian folktales” have classified a number of folktales based on their types, and extracted and analyzed their system of beliefs from a psychological approach. Zolfaqari (2014) in “The structure of plot in Persian folktales” has categorized forty verse folktales based on their plots. Shakibi Momtaz and Hosseini (2013) in “Categorizing various types of the birth of heroes in folktales and fairy tales” uses a psychological approach to categorize the various types of births of heroes. Barfar (2009) in “Vegetable fairies” has collected a number of fairy tales from a mythological point of view and with the use of library and documentary methodology; and after investigating the conventions dominant in these tales, concluded that they originate from the imagination of the humans about nature’s animation. Afshari (2003) in “The magic of the drop: Signs of the myth of vegetable god in Persian folktales” has investigated the transformation of blood drops into plants in a handful of folktales and maintained that these mythological tales have roots in the imagination of the human beings in the agricultural period.The present study tries to investigate the manner of recreation of religious-historical figures as well as their roles and functions in the four-volume collection Iranian Folktales using a descriptive-analytical method. DiscussionThese are the religious-historical figures in order of frequency of their appearance in the folktales:Appearing in 16 tales, Prophet Solomon is one of the most frequently appearing figures. His appearances in the tales are sometimes direct, sometimes through his actions and sometime through some tools associated with him such as rug, ring, hat, book, mirror, goblet, cane, kashkoul and stamp.Imam Ali is the second most frequently appearing religious-historical figure in the folktales with 12 appearances. His character and his name signifies a wise old man who helps the tales’ heroes.Satan as an anti-religious figure appears in four tales with two different approaches and serves the villainous characters of the tales. The significant point about Satan’s appearance is that in two tales, it is actually Satan that is deceived by human beings.Alexander the King is the only historical figure who appears in the tales as a mythological-legendary person. The other religious-historical figures function as guides and helps to heroes and protagonists of the tales; whereas Alexander, who is only a historical figure, appears in four tales with two different faces.Prophet Khidr is another religious-historical figure who appears in two tales functioning as a help to the hero. In Islamic and popular belief, too, he functions as a wise old man and a guide.Prophet Mohammad appears in two tales in the collection. In fact, only his name is mentioned and he is not involved in the conflict of the tales. Prophet Mohammad is a holy figure and has a high status; therefore, he appears less frequently than the other religious-historical figures. Prophet Mohammad does not have a counterpart in myths and legends, and consequently, does not appear in folktales which are based on myths and legends.Hazrat Abbas’s presence in the collection is limited to one tale whose theme is associated with taking an oath.Prophet Zechariah and his martyrdom, along with his son’s, appears in one tale which is recreated according to the taste of the common readers. ConclusionLegends and tales provide a suitable context for the representation of religious-historical figures. These characters have been developed and completed in the imagination of the public and are recreated according to their wishes. The struggle between vice and virtue is a significant motif in the tales which results in the victory of virtue. The heroes of the tales have helpers and guides in order to overcome the challenges on their paths. Prophets, Imams and God’s servants are significant examples of helpers and guides for the heroes. In the tales investigated for this research, the three figures Imam Ali, Prophet Khidr and Hazrat Abbas fulfil this function. Prophet Solomon has a more prominent presence in the tales due to his ability to communicate with other creatures and supernatural beings. On the other hand, only the name of Prophet Mohammad is mentioned in the tales because he is so revered among people that he is never represented beside mythological elements. The story of the martyrdom of Prophet Zechariah is recreated in one of the tales with some modifications compared to the text of the Holy Quran. Alexander the King as the only historical character has two different personalities in the tales: one the one hand, he as a king helps the hero of the tale; and on the other hand, he is a greedy king who has failed in his quest for eternal life. Satan is the only figure in the religious discourse whose presence in the story is associated with vice and destruction and helps the sinister characters with their deceptions.   }, keywords = {Keywords: religious figures,historical figure,anti-hero,Iranian folktales,Hero}, title_fa = {نقش و کارکرد شخصیّتهای دینی – تاریخی در قصّه های عامیانۀ ایرانی}, abstract_fa = {افسانه­ها و قصّه­ها به­عنوان شاخه­ای از ادبیّات عامّه، پیوند خود را با تاریخ و دین حفظ کرده­اند و بستری مناسب برای بازآفرینی شخصیّت­های تاریخی و دینی­­ فراهم آورده­اند. این نوشتار مجموعه­ی چهار جلدی قصّه­های ایرانی را به شیوه­ی توصیفی- تحلیلی مطالعه نموده و به بررسی شخصیّت­های تاریخی-دینی به­کاررفته در این قصّه­ها پرداخته است. یافته­های پژوهش نشان می­دهد که این شخصیّت­ها در سی­ونه داستان از مجموعه­ی قصّه­های ایرانی انجوی­شیرازی، نمود یافته­اند. اشخاص و اعلام تاریخی و دینی مد نظر ما به ترتیب بسامد عبارتند از: حضرت سلیمان(ع)، حضرت علی(ع)، شیطان، اسکندر، حضرت خضر(ع)، پیامبر اسلام(ص)، حضرت عبّاس(ع) و حضرت زکریّا(ع). پیامبران، ائمّه و اولیای خدا یکی از جلوه­های بارز شخصیّت­های یاریگر قهرمانان قصّه­­اند. اغلب، این شخصیّت­ها در تقابل نیروی خیر و شر ظاهر می­شوند و در چالش­هایی که ضدّقهرمان برای قهرمان ایجاد کرده­ است، قهرمان را یاری می­دهند. در این بین، حضرت سلیمان(ع) به سبب ارتباط با موجودهای فراواقعی و سوررئال که پیوسته حضوری پررنگ در قصّه­ها دارند، و اشیای منسوب به او از پربسامدترین نیروهای یاریگر قهرمانان قصّه­ها هستند. داستان­هایی نظیر شهادت حضرت زکریّا(ع) یا شخصیّت اسکندر در ماجراهایی نظیر طلب آب حیات مطابق با بینش و پسند عامّه بازآفرینی شده­اند.ط افسانه­ها و قصّه­ها به­عنوان شاخه­ای از ادبیّات عامّه، پیوند خود را با تاریخ و دین حفظ کرده­اند و بستری مناسب برای بازآفرینی شخصیّت­های تاریخی و دینی­­ فراهم آورده­اند. این نوشتار مجموعه­ی چهار جلدی قصّه­های ایرانی را به شیوه­ی توصیفی- تحلیلی مطالعه نموده و به بررسی شخصیّت­های تاریخی-دینی به­کاررفته در این قصّه­ها پرداخته است. یافته­های پژوهش نشان می­دهد که این شخصیّت­ها در سی­ونه داستان از مجموعه­ی قصّه­های ایرانی انجوی­شیرازی، نمود یافته­اند. اشخاص و اعلام تاریخی و دینی مد نظر ما به ترتیب بسامد عبارتند از: حضرت سلیمان(ع)، حضرت علی(ع)، شیطان، اسکندر، حضرت خضر(ع)، پیامبر اسلام(ص)، حضرت عبّاس(ع) و حضرت زکریّا(ع). پیامبران، ائمّه و اولیای خدا یکی از جلوه­های بارز شخصیّت­های یاریگر قهرمانان قصّه­­اند. اغلب، این شخصیّت­ها در تقابل نیروی خیر و شر ظاهر می­شوند و در چالش­هایی که ضدّقهرمان برای قهرمان ایجاد کرده­ است، قهرمان را یاری می­دهند. در این بین، حضرت سلیمان(ع) به سبب ارتباط با موجودهای فراواقعی و سوررئال که پیوسته حضوری پررنگ در قصّه­ها دارند، و اشیای منسوب به او از پربسامدترین نیروهای یاریگر قهرمانان قصّه­ها هستند. داستان­هایی نظیر شهادت حضرت زکریّا(ع) یا شخصیّت اسکندر در ماجراهایی نظیر طلب آب حیات مطابق با بینش و پسند عامّه بازآفرینی شده­اند.واژه­های کلیدی: شخصیّت­های تاریخی، شخصیّت­های دینی، ضدّقهرمان، قصّه­های عامیانه­ی ایرانی، قهرمان. }, keywords_fa = {"شخصیّتهای تاریخی","شخصیّتهای دینی"," "ضدّقهرمان","قصّه های عامیانۀ ایرانی" قهرمان}, url = {https://jcls.shirazu.ac.ir/article_5726.html}, eprint = {https://jcls.shirazu.ac.ir/article_5726_b65009a3a359cbe5129df4cceb9a4e47.pdf} }